Original subtitles

The 35mm negative of L'Amour fou was burned in a laboratory fire in 1973.

It was restored with materials from various sources

preserved in the Archives du Film and Éclair-Préservation stocks.

The restoration of this film was supported by the CNC.

L'amour fou was shot in Paris, in July-August 1967.

The 4K restoration was made by the Hiventy Laboratory

under the supervision of Caroline Champetier, AFC.

- Want a light? - Yes, please.

I'll see what's going on.

Any news?

Nothing.

Is he answering?

No, he's not.

The desire to rebuild stagnant water.

To cross little feet.

In the morning, you're woken up

by a thigh,

a foot, a caress.

You opened up in me.

Monday the 14th

Sébastien Gracq, 5/4.

As you wish,

let him come.

I consent to grant him that pleasure.

Pylades will bring him here,

yet, if I thought, I shouldn't see him.

Why does the sight of him cause you unrest?

My lady, is he not still Orestes

whose return you so often wished, whose love and loyalty you craved?

This love, paid with ingratitude,

makes his presence here so cruel.

What a shame for me,

for him what victory to see my woe echo his ennui!

Is that, he'll say, the proud Hermione...

No.

What?

I can't see, they're in the way.

You do it again?

Is that, he'll say, the proud Hermione...

No, that's not it.

Is that, he'll say...

No. "Is that, he'll say..."

Is that, he'll say, the proud Hermione?

Now you're doing it a bit...

Is that, he'll say, the proud Hermione?

Now do it again.

Come on, no!

I asked you to stress...

to stress "he'll say.”

Is that, he'll say, the proud Hermione...

No, not like this.

I told you fifty times.

I can't do it.

Excuse me.

I won't. It's not normal. An actress can do that.

It may not be normal,

but you well know I can't work like this.

With that...

Don't insist. Shut up!

I didn't say anything.

I can't. I'm sorry.

Find somebody else.

I'm out.

I quit.

Cleone...

Wait.

"As you wish, let him come."

Let's do the next scene.

Dennis?

Will you play Hermione?

You know about the staging?

Malik does.

- Malik does. What? - Which one?

The next one.

"My lord, is it out of tenderness that you seek a sad princess?"

What I would like...

It's the same scene.

No, it won't work.

Let's just stop.

If you want,

we can stop... the shooting.

Why?

We liked the idea of doing a programme

about the story of rehearsals,

but I think life and drama are getting mixed up a bit.

A bit too much, no?

That's normal.

You don't have to show these... our interferences.

And I like that. It helps actors, it forces them.

Being watched forces me to work more.

Unless you don't want to, let's keep going.

No?

I don't know.

We'll see.

We should still ask actors...

- what they think. - They all agreed at first.

They won't go back on it.

I know I won't.

- And you? - Me?

Yes, you.

I'm not strict, you know.

Puck. Why do they call you Puck?

My name's not Puck. You call me that.

I thought that was your name, really.

- Her name's not Puck? - Yes, her name's Puck.

Pearl Puck.

Do you have more in store?

I noticed the... cigarette tricks,

the magic matchboxes and all.

I think I ran out of stock.

Did you show Lewis what you did before?

No, but he knows all that.

I'm real proud to succeed Lewis in your interviews.

He's taking care of you.

Was he good?

- He was. - His interview was good?

- Could we see the footage? - Of course.

I'd like to see it all unedited.

It needs to be synchronised.

I'll watch the footage.

I may hire him to stand in for me as Pyrrhus.

You laugh, but he'd be fine.

I mean it. I'm not joking.

As Buddy Love, he was straight.

Yes, or even in something that's not funny at all.

He'd have to speak French.

He does. You heard him sing "Bonjour, joli matin" in that movie?

He improvises on French onomatopoeia.

He fakes French flawlessly.

I'm sure he'd fit the part. Really.

He could do it.

I'll be right back.

Can I use the phone?

Marta?

Are you working these days?

No?

I'd like you to join us.

Yes. Hermione.

There's no problem. I'll explain.

You see? Since I crashed into it,

I'm in the wrong.

We can't get our money back.

We'll have to take taxis.

For now, we can't have it fixed.

Well, it doesn't cost more.

Did you manage to work?

What?

After?

Yes, a little.

Did you mind much?

I didn't.

But the others...

It was such an awful feeling, it made relating to them difficult.

Mostly, I don't get you.

Yes, I know.

I don't get it either.

You see,

sometimes I want to quit, to be alone.

I want to leave.

I'm fed up with the others.

Why's that?

I don't know.

I find them dumb.

Your attitude earlier was dumb too.

That's true.

I'm tired.

I often want to sleep,

go home, and that's it.

You need to rest.

Yes.

We could go home every night.

Eat here.

I can work in that room,

and you can rest.

Yes.

All right.

Sure you don't need me there?

You want me to come?

If you want. In principle, Marta's up for it.

For the part?

Yes, in principle, but come if you want.

I don't know, I'll see.

Maybe.

I think I'll stay.

As you wish.

Goodbye.

Don't worry about blocking.

As you wish, let him come.

I consent to grant him that pleasure.

Pylades will bring him here,

yet, if I thought, I shouldn't see him.

Why does the sight of him cause you unrest?

Is he not still Orestes, whose return you so wished,

whose love and loyalty you craved?

This love, paid with ingratitude,

makes his presence here so cruel.

What a shame for me, for him what victory

to see my woe echo his ennui!

Is that, he'll say, the proud Hermione?

She scorned me, now she's rejected.

The ungrateful, who so valued her heart,

now learns to suffer and to part?

Oh, gods!

Dispel these unworthy fears:

your charms he deeply feels.

Would a lover dare insult you?

His heart cannot forsake you.

But what did your father order?

If Pyrrhus perseveres in his delay,

and won't allow the Trojan to die,

my father says I leave with the Greeks.

Then, my lady, listen to Orestes.

Pyrrhus began, end it, at least.

To do so, you must be ahead of him.

Haven't you said you hate him?

I do hate him, Cleone.

Honour commands me, after so many vows he...

"I do hate him, Cleone." Right now?

- Haven't you said you hate him? - I do hate him!

Honour commands me, after so many vows he...

- Again? - All right.

As you wish, let him come.

I consent to grant him that pleasure.

Why does the sight of him cause you unrest?

My lady, is he not still Orestes, whose return you so wished,

whose love and loyalty you craved?

This love, paid with ingratitude,

makes his presence here so cruel.

What a shame for me, for him what victory

to see my woe echo his ennui!

Is that, he'll say,

the proud Hermione?

She scorned me, now she's rejected.

The ungrateful, who so valued her heart,

now learns to suffer and to part?

- How are you? - I'm good.

- You're happy? - Yes.

It's late, let's stop.

How are you?

- And you? - I'm fine.

- You're looking well. - This is pretty.

- You OK? -I am, yes.

My women always get along.

Goodbye. Till tomorrow.

- Shall we? - Yes.

- Dinner at home? - Not tonight, next time.

You'll ask Sébastien first, OK?

You're coming?

Let's go, daddy-o.

Do you have some with cin...

Some with cinnamon?

Well, this slob hijacked our pinball machine.

He's screwing it all up.

He hasn't won a thing.

I got the lowest score: 631.

We'll go sit. Will you have a drink with us?

You're done?

Yes, I've won.

I've spent one thousand.

Aren't you a stiff?

A complete stiff.

I've been a stiff for months.

What do you want?

Give me a piece.

That's gross.

- Give me some. - No.

That's gross.

Stop it, that's disgusting.

- You want some? - No, thanks.

You want a piece?

Some used to do a nice snapping noise.

How scornfully the cruel girl denied us!

"Heed her advice, see Pyrrhus."

"Defeat Hermione and Greece."

You stand up.

Again?

How scornfully the cruel girl denied us!

Heed her advice, see Pyrrhus.

Defeat Hermione and Greece.

Now, you move.

Like this.

She exits,

and you lower your head.

Célia, you lower your head.

From the back. Stay down.

Don't exit. She enters.

She enters there, since you looked over there.

Yes, that's right.

Turn the other way.

Can you see Michèle? You said that?

No, she was like this.

Anyway.

Let's do it like this.

I pick up with the transition?

I don't come with jealous tears

to serve a heart whom you have charmed.

I saw that cruel hand, alas,

pierce the only one I held dear.

My love by Hector was once lit;

with him the grave has buried it.

But I still have a son.

One day you'll know, my lady, for a son

how far a mother's love will go.

Why fear a child whose father's dead?

Let me hide him on a desert island.

I Know your sorrows.

But my father's word imposes silence.

Make him decide.

I will abide by that.

You don't look at me.

- I don't? - No, not on "scornfully."

How scornfully the cruel girl denied us!

Heed her advice, see Pyrrhus.

Defeat Hermione and Greece.

Good. Let's do it all again.

From the previous scene.

When Andromache enters.

Go on.

Dissimulate. Your rival now in...

Your rival now in tears brings her grief to you.

Gods, can't I smile with glee? Let's go: why speak?

Why flee, my lady?

Isn't it sweet to see Hector's widow cry and kneel?

- I'll meet you home? - Fine. Are you OK?

I'm fine.

My love by Hector was once lit;

with him the grave has buried it.

But I still have a son.

One day, you'll know,

for a son how far a mother's love will go.

Claire?

Pass me that.

The cologne?

You like it?

Oh, dear Cephisa,

from you my heart cannot hide.

From you my heart cannot hide.

- No? - Yes, that's it.

Your loyalty, in my woe, showed itself to me;

yet I thought you'd know me better.

What?

Did you think untrue Andromache

could betray a husband who lives in her...

No.

... could betray a husband who lives in her...

- You don't mind my staying here? - Not at all.

Revive the grief of so many dead

and with my peace betray theirs?

Wait. Pick up at "What?"

What?

Could untrue Andromache betray a husband who lives in her?

That's it, but not sad.

Did you think untrue Andromache could betray a husband...

- Your weeble is dumb. - No, he's sweet.

- He's the dumbest. Look. - No.

- He doesn't go back up. - He's the king of weebles.

- Don't hurt him. - But he's so mean.

He's sweet. Leave him here.

See, he's happy like that.

- He can't climb. - It's his favourite position.

- He could climb like this. - No, he's a weeble.

Stop it with that weeble.

Stop it! It's such a rare weeble!

What?

Your drum concert was nice.

- You liked it? - Yes, it was beautiful.

- You've made some progress. - I think so.

You noticed, then?

You should quit drama and only play the drums.

Really? I'm seriously thinking about it.

Come on, don't laugh.

I'm not laughing.

I know I play badly, but I'm having a blast.

But you look... This drum set is so tiny.

I'll buy one. Don't worry, it's all planned out.

I went to Central Rythme.

I saw a used drum set. When I have some money...

I think Célia and Emilie were very happy about it.

- Maddly. - Yes, Maddly.

They were very happy.

- I didn't notice. - Yes, I did notice.

I swear I didn't notice.

They were surprised, even.

They had no idea.

Black people love rhythm.

- What? - Black people love rhythm.

- You're so stupid. - You too.

- You're Black. - You think that...

I love a Black woman.

You think the neighbours are happy?

Yes.

Very happy?

Two toms, one snare

and one bass drum.

And brushes.

Yes, if you want.

- I don't like brushes. It's for jazz. - But it's smooth.

I'm not into jazz, more into rhythm and blues.

My specialty.

- Do you have a method? - And the weeble?

He's asleep.

I'll put him here.

I really don't like him.

I don't like this weeble.

- Always put him like this. - I don't care.

- He annoys me. - Leave him be.

That weeble really annoys me.

- He's cute, he looks like a baby. - He annoys me so much.

I warn you, one day, I will do something to that toy.

It's forbidden to remove his hat.

I will disguise him

as Weebla.

Shall we sleep?

But we toss the toy!

- Sleep. - No way I'm sleeping with the toy.

You want to sleep with the toy or with me?

Your choice.

I'm sleeping. Night!

- Already? - Sleeping.

Sleeping like this?

Sleepy?

Well, sleep.

Thursday the 17th

Fury carried me away,

and perhaps I came to threaten both her and her lover.

What was the fruit of that outburst?

What man wouldn't be overcome

by this blow that shatters my reason?

He marries Hermione tomorrow;

as an honour, I must give her to him.

I'll sooner slay the Barbarian...

You blame him for this twist of fate;

yet, torn by his own designs,

he might be pitied, like you.

No, I know him, he enjoys my despair.

Should I not love her, he'd scorn her.

Indifferent to her until now,

he takes her just to take her from me.

He enjoys my despair.

Indifferent to her until now,

he takes her just to take her from me.

You believe him.

See her wrath against the ungrateful...

He was never loved more.

Don't you see, had he given her to you,

some ready pretext would have delayed her?

Trust me.

Deceived too long,

flee her forever.

Your love craves

a fury who will detest you,

and all her life regret this near marriage.

Did you expect, Cleone, such mild anger?

A silent grief is often deadlier.

I pity him:

author of his own sorrow,

who hurt himself with his own blow.

How long your wedding...

He speaks, my lady, and Pyrrhus declares himself.

You think Pyrrhus fears?

What should he fear?

People who, ten years, fled from Hector,

who, a hundred times, missing Achilles,

in their burning ships sought sanctuary, and who,

without his son, would ask Troy for Helen?

It's a single idea.

No, Cleone,

he's not his own enemy;

he wants what he does;

he weds me, he loves me.

Let Orestes blame his pain on me: why talk about his tears?

Pyrrhus returns to me!

Ah, dear Cleone,

can you imagine the joy of Hermione?

Do you know who Pyrrhus is?

Have you heard of his countless exploits...

"Do you know" matters first.

She knows, because she reproached her earlier

for feeling too sorry,

for being obsessed,

for betraying her, yourself,

well, for being dazzled.

"Do you know? No, you don't."

Even though she knows we know you know she knows.

This, right here,

is the idea.

Do you know who Pyrrhus is?

No. I'll explain.

Have you heard of his countless exploits?

Surely you haven't.

Who can count them?

If you agree,

I'd like to do the portrait of an actress... you.

Fine. Where are we going?

We'll start here.

Come in. You know them by now.

Get ready.

It won't take more than ten minutes.

Françoise, would you mind leaving us alone?

It's an exclusive interview.

You sit here, right?

- Ready? - I close in on you... slowly?

Not the mouth. When you're ready.

Rolling!

Portrait of Marta Daseta. One, take one.

Like being at the doctor's.

No, you're at the analyst's.

It's hardly better.

By the way, I guess Marta's a stage name?

- Marta? - Marta Daseta.

Yes, a stage name, that's right.

Why that stage name?

Just because.

- Then what's your name? - I'm called Josée Roscoop.

But I took that name

when I felt like doing drama for the first time, around 15 or 16,

I discovered Pirandello,

and I read something by him: "To Marta so I don't die."

It was dedicated to Marta Abba.

I really like that.

You like Pirandello?

Yes, him too. A lot.

I chose Marta, that's it.

- Did you play Pirandello? - No, I didn't play him.

Not yet.

What did you play?

I played many things.

I played Antigone, The Seagull,

all possible classics.

Happy to work with Sébastien?

With Sébastien, yes, I am.

I played quite a few classics,

it's always rather unsatisfying.

Here I've found what I was looking for.

You saw the rehearsals. It's good, it's fascinating.

And I think it's true.

Thank you.

Welcome.

Let yourself be carried away by this rhythm,

and we'll know they're verses.

- I know. - Good. Let's do it again.

"I would be thrilled to, in love's duress..."

- Say it out. "Thrilled."

- I would be thrilled to... - Yes, that's it.

I would be thrilled to, in love's duress,

win not Astyanax, but my princess!

Ah, yes. That's it.

He looks at you. Behind.

Do I stand up too?

Do not expect my passions renewed

by greatest perils to be subdued.

In spite of my efforts, resistance proves vain.

Blindly I follow the fate that claims me.

I love; I've come to seek Hermione,

to sway her, abduct her, or die in front of her.

You know Pyrrhus, what do you think he'll do?

In his heart, in his court,

tell me what passes there.

Will he return what he took from me?

- "Win not Astyanax," don't look. - I saw.

Don't look at him, then look at him once he's up.

When he talks to you, turn around.

I would be thrilled to, in love's duress,

win not Astyanax, but my princess!

Do not expect my...

Wait till he catches your eye.

He stands up,

and then you feel his look.

Got the keys?

You don't?

Why is Marta not with you?

She had to go home and change.

Well, I'll change too.

Why? You didn't work all day.

Yes, but I'm dirty.

I want to put this dress on.

If you change, I'll change too.

All right.

Don't you find it a bit dressy?

I don't know.

Would you clean your space?

That would be helpful.

Tell me,

how did you find Célia?

- Good. - No. Who brought her to you?

Ah, Michèle brought her...

Pass me the salad, there.

She was in a play where Célia sang.

You like her in a dress or pants?

I don't know.

I think she looks great in pants.

You should have her act in pants.

And Niddly? How do you find Niddly?

- Who? - Niddly.

Cephisa.

Maddly.

Pretty, don't you think?

Don't you think she has pretty eyes?

She really is a dancer, she moves splendidly!

Really? I didn't notice.

- Have you seen her hips? - No.

Very narrow.

She works her charms, right?

What do I do with this thing?

Put it behind the cushion.

Don't you think she works her charms a bit?

- Yes. - Mind you, that's OK, for Cephisa...

I may be lost but I seek revenge.

I know not, whatever he offers,

whether to rely for this on others...

She never stops. You noticed?

Well, I did.

And it works. It works on everyone.

I don't know.

She has pretty... Oh, my.

I'm making a mess.

She has pretty eyes, too.

What are you doing?

There you go.

She has pretty eyes, right?

Who?

Well... the cutlery.

- No, Niddly. - Niddly has pretty eyes?

Very pretty eyes, yes.

- You're happy? - Yes.

You're in luck.

I'm around pretty women, I'm fine.

What should I do next?

Continue on this side.

You're lucky to have Michèle, it's a moral support.

Right?

She's a really nice girl, Michèle.

That's true.

Do you realise how much you need her?

- You think so too? - Yes.

I noticed, when she's gone 5 minutes,

you're completely lost.

- Now don't push it. -You are.

That's rare, you know.

So, do you like my dress?

- It's pretty. Moiré. - Nice, right?

- I would wear it shorter. - That's too much.

We both look good, I think.

Especially you.

We make a cute couple, no?

You and Marta made a cute couple too.

Are we having a concert?

No, you won't get any concert.

Well, too bad.

Yes, yes, too bad.

Too bad for you.

Have you noticed Sébastien lately?

He's changed a lot, right?

He's not himself, right?

He's in shape, is that it?

Yes.

You're happy?

Yes and no.

You really are in shape.

That's unusual,

with all the work he does.

I think he's hiding something.

He's in love.

He's living a great passion.

It's a key moment in your life.

In love with Andromache?

Please...

Don't make me laugh.

Look. Look at him.

You look very different.

Very handsome.

Sébastien's cheating on me, I'm sure.

He's cheating on me, you know?

I'm cheating. You're cheating.

He's cheating.

It happens.

You wouldn't think, but I inquire, I observe.

No proof yet, but I'm patient, very patient.

I'll say, you're clever. Skillful.

Very skillful.

You're all casual, you say so, and then...

It won't work

because...

I'm watching you. I know you.

I see right through you.

I keep to myself, no fuss.

Like I don't see anything,

or listen to anything,

but I see it all, I hear it all.

I remember.

And I wait.

Wait for my turn.

Me too, one day, I'll do something.

That will surprise you all.

That will astonish people.

You'll see.

That day...

That day it'll be too late.

I'm tired.

I'll leave you to it.

Don't mind me.

Stay, Marta, if you want.

See you tomorrow.

It's "My lord, control?"

OK, shall we?

My lord, control this fierce anger.

You act like a stranger. Let me...

No.

The time for your advice has gone.

My pain, my life dragged on too long.

My mind's made up.

Take her then.

What will they think, seeing how you act?

Conceal: ease your troubled passion.

Tell your eyes to guard your secret.

The guards, the court, the air around us,

it all depends on Pyrrhus, and above all Hermione.

From her eyes hide your anger.

In such state why meet her?

Of myself was I the master?

Perhaps I came to threaten both her and her lover.

What was the fruit of that outburst?

What man wouldn't be overcome?

He marries Hermione tomorrow.

I'll sooner slay...

You blame him...

yet, torn by his own desires,

he might be pitied, like you.

I know him, he enjoys my despair.

Should I not love her, he'd scorn her.

He takes her just to take her from me.

Hermione being won, gone from him forever.

That's new. I didn't sit right away.

Yes, we changed that.

There we were:

Hermione being won, gone from him forever.

One word would have been enough.

You believe him.

See her wrath against the ungrateful...

Never...

No, that's not it. And that's how I know.

On this side, I was doing this.

- We changed that. - So, am I going there?

Wait.

He's a smart one.

He changed places.

Don't turn around.

"You believe him!" And I turn around.

OK, hold on.

Wait. Turn towards me.

I'll share my heart another time: Andromache is here.

My lord...

I'll share my heart another time: Andromache is here.

My lord...

- OK, say it... - My lord...

I'll share my heart another time: Andromache is here.

Do you seek me, my lady? Is such a sweet hope allowed me?

- Now what do I do? - Turn around.

That's it. "As you embrace him, think of saving him."

And we exit.

Is Pyrrhus the main character?

This love, paid with ingratitude,

makes his presence here so cruel.

It's an archetypal situation

between Andromache and three characters.

But the fact that you...

assigned yourself the role?

The role of Pyrrhus.

What do you mean?

- It suggests that... - Nothing, no.

Because in... rereading Barthes,

for him, Pyrrhus is...

a character like a pivot,

a pivot between two forces,

two laws embodied by Andromache and Hermione.

Yes, I know.

I don't think so.

I think he misread... Racine.

Hate him, Cleone! My honour demands it.

For him, it's part of a different...

Yes, but he's mistaken.

He forgot a line. You do that, you can't write a theory.

That line destroys all theories. It's in this act.

Hermione said she loved Pyrrhus before... it was her.

Yes, that's it.

Flee then, since you're adored...

Let my anger grow some more;

but let me shield from my foe;

Cleone, with horror I shall go.

He knows me too well, the infidel!

I can do it too.

With some training.

OK, go on. I'll let you do it.

Hello. Am I bothering you?

Would you mind calling my house?

What should I tell her?

No, I'd better do it myself.

Where did you buy that?

Hello, Claire?

Listen... Don't wait up for me tonight.

Get some rest.

I'll be home late, I don't want to wake you up.

Don't worry, I'll sleep anywhere.

Yes, but please, rest.

Have a good rest.

I'll call you tomorrow. Bye.

Let him not seek revenge:

let him think humbly of his past;

he is Hector's, but he's the last.

And for this last I have today sacrificed my blood, my hate, my love.

Alas!

Dry your eyes, Cephisa,

for Andromache's fate

is in your care.

Here's Hermione. Let's flee her violence.

My lady, I fear this deadly glance!

Perhaps it'd be best...

- Have you called Orestes? - He's on his way, my lady.

See how readily he will kneel to you.

I'm going there.

- I'm going there? - Yes, go on.

Ever ready to serve, hoping for nothing,

your eyes all too sure of pleasing him.

Here he comes...

That's it.

Stand up.

I don't think you can claim

this is drama, nothing else is.

What is drama? The game of masks.

The characters enter this anteroom

to speak, to confess, to unload.

You must have the feeling that the walls exploded,

that we can now see...

qualms,

displayed to an audience,

which judges each character in relation to all others,

each being locked in their own subjectivity.

But for everyone to be really locked in,

the actor must have felt inside

to what extent

the guy he's playing stumbles over...

Now I see you,

counting the moments you're losing with me.

Go swear to her the vows you swore to me,

go profane the gods' sacred majesty.

The just gods won't forget you made the same promise to me.

Take to the altars your cruel heart.

Go, run.

You heard, my lord.

Don't underestimate a lover scorned looking for revenge.

So many here support her:

her quarrel and the Greeks' go together.

Orestes loves her; it may be the price...

Andromache awaits me.

Where did Andromache exit?

Andromache exited...

that way.

We can exit that way.

"Hermione's here. Let's flee her violence."

And she exits that way because...

So, you'll exit that way.

And I'll go that way.

No, wait... Let's do it again.

"Orestes loves her; it may be the price..."

Orestes loves her; it may be the price...

Andromache awaits me.

Phoenix, guard her son near.

That's it!

I have pills. Fancy one?

- Which ones? - Sedatives.

Sedatives? I'd rather take speed.

Mixing sedatives with coffee?

I'm not taking sedatives.

You know,

I think you should...

go over

the keywords of the lines

with the actors.

You know?

Yes, but we're not... They...

So they completely rethink the lines.

Because right now,

the way they...

It becomes mechanical...

So what's inside...

It's crazy. You saw the difference.

In readings, they really read the play,

finding a marvelous tone.

And switching from this to movements...

everything's ruined!

Because, I'm telling you, they forgot...

the words, the meaning of the lines.

And their movements are running empty.

Maybe the movements are wrong. Maybe we should stay still.

Racine is...

so much about people talking

and explaining simply what they have to say...

It has nothing to do...

The minute you create movements, they lead to nothing.

That's pathetic.

Maybe it is pathetic.

I don't know.

That said, you do tend to give up on them.

No, actually...

Yes, I give up on...

I don't give up on them, but I don't know what to do.

Did you see the rushes the other day?

It was everything I hate:

the director acting like a daddy feeding his babies,

from whom they expect everything.

Yet, at first, I wanted to work with them

to spark ideas from actors, so that it comes from them.

That's a whole school,

a whole collaborative work.

But then if you see it on TV,

it reinforces the myth of the director as...

You don't look like a director...

You don't, not exactly.

No, I don't think so.

Anyway, it doesn't matter,

even if it's on TV, who cares.

It's not about TV,

it's about the fact that I realised

that it influenced...

They were expecting things from me, and I wish...

I wish I were completely...

We should have only done readings,

and let them go on stage.

- Leave them to it? - Yes, but now it's over.

That means nothing. It's taking the easy option.

You know these directors who say,

"I'll leave you to it," and then,

they sleep, you see?

This is so difficult!

I don't know.

That said, I'm sure that going over the lines with them...

I did, I promise, I went over it with them.

When we sit at the table, it goes swimmingly.

I don't need to talk anymore. They recover.

The minute they start moving, it's over.

It goes back to... it stays inside.

As Labarthe said, it comes out wrong.

That's true. I don't want it to come out like...

Yes, like that.

I want real conversations,

only people talking like that and...

Then again,

technically speaking, to be heard without yelling,

you can get it, but it takes a hell of a technique.

Breathing...

You just need to bear in mind

what you're doing here on stage,

what the guy is... telling,

what he's telling the other.

We need to get people to talk with each other.

Nothing else matters.

The only important thing is that people talk with each other.

They click or not, they're on the same level or not,

but, in any case, what they do

is in relation to a person. Precisely so.

It's as easy as that.

It seems so simple to me!

You know how dumb you become on stage.

Yes, dumb.

You don't know how to do things anymore.

It's so difficult.

I didn't know he was as near as this.

Enter more normally.

At a pace that is... normal!

My lord, is it out of tenderness

that you seek a sad princess?

Must I attribute to duty only

your happy haste to see me?

Such is my love's fatal blindness, as you know, my lady.

Orestes' destiny...

is forever to adore your charms,

and swear never to return.

You've been what drove me all year.

It is for you to take...

You want to stop?

Yeah.

We're tired.

Yes, and we're not working well.

It went well the other day with Yves.

Can we go now?

We need to invent another type of staging.

I don't know why, it changes everything.

We need a new face.

Could I sleep at your place tonight?

Of course.

You don't mind? No one's coming in the morning?

Forgot anything?

No music at night at your place?

No, he's still complaining.

Not so many new things.

Still listen to that one?

Yes, from time to time.

- You need help? - No, thanks.

- I only have one sheet, you mind? - I do, but...

There. You'll be all right?

Goodnight.

Sleep well.

I wrote some clear stuff about the play.

About the staging?

Yes, staging, direction, performance, everything.

Really clear, sharp.

That's new.

For me, it is, yes.

Will you show me?

Yes, but...

I'll have to read it. You know my handwriting...

"The best way to introduce characters

"is to show what they're picturing.

"To be committed to follow..."

No, I don't think so.

I don't feel like reading it now.

Tomorrow, in front of everybody.

Do you ever brush your hair?

- Not before bed. - There's a cowlick.

Always was.

- You're fine. - Yes, not bad.

I'm going to bed.

Got a razor for me tomorrow?

Yes, there.

Not an electric razor?

I don't have one.

OK. Goodnight.

Sleep well.

Got everything you need?

Yes. Would you have any sleeping pills?

No, I never take any.

Can I sleep naked? No one's cleaning in the morning?

She only comes in the afternoon.

Marta, I'm bored!

What time do you get up?

I don't know.

What time is it?

I don't know. Look.

2:15.

I need to get up at 8:30.

Your horse rider's nice. He's all smiles.

Your alarm clock works?

- Sure? Someone might call. - No, it works.

Will it go off?

I use it every day.

Goodnight.

Saturday the 19th

I prolonged for him my misery,

now in his steps I'll meet his father.

All three of us, united by you...

Go, my lady, see your son.

Perhaps, on seeing him, your love

will not always take anger for your guide.

To learn our fate I will return.

As you embrace him, think of saving him.

As you wish, let him come.

I consent to grant him that pleasure.

Pylades will bring him here... yet, if I thought, I shouldn't see him.

Our ports are open to them both.

What constraint and worry I'd be spared!

My lord...

I'll share my heart another time: Andromache is here.

Do you seek me, my lady?

Is such a sweet hope allowed me?

I'm on my way to where my son is kept.

Wait, wait.

He looks at her until the beat.

Go ahead.

I'm on my way to where my son is kept.

Since, once a day, you let me see

all I have left of Hector and of Troy,

I go to weep with him a while.

I haven't embraced him yet today.

Judging by their alarm, the Greeks

will soon give you other cause for tears.

And you'll decree such cruelty?

Alas!

They do not fear he'll avenge his father;

they fear he'll dry his mother's tears.

He would have been father, husband, to me.

But I lose all, and always by your deed.

When you start speaking a line,

you see right away what it's a part of.

We're trying.

- Let's try it. - Without the lines, right?

- We're doing just fine. - It's coming.

Nobody ever made it that way.

Usually, when you speak a line, you think of the rhyme.

I don't know what people think.

We don't know, because

nobody ever tried that method.

I never met any verse performers...

You didn't consider what's been done before?

The play's been staged...

We thought what had been done before...

was not... satisfactory.

What's the idea, then?

The idea is just...

that thoughts don't belong to words,

but to groups of words.

People have long thought

that to approach a classical play,

in a modern way...

Has she forgotten everything you've done?

Do Troy or Hector turn her heart against you?

Do her husband's ashes claim her love?

And what a husband!

Ah, cruel memory!

His death made your father immortal.

He owes his warrior's fame to Hector's blood.

You are both known by my tears only.

So, I must obey.

I must forget you, or hate you.

All three of us, united by you...

Go, my lady, see your son.

Perhaps, on seeing him, your love

will not always take anger for your guide.

To learn our fate I will return.

As you embrace him, think of saving him.

It's fine.

I like it. We're making progress.

Something's wanting.

Some push in the...

Swingy.

Here it really feels...

Célia?

Let's do it again.

- It was too maudlin, right? - Not just that.

A little bit.

You're not saying what I want to hear.

Tell me what's on your mind while taking into account...

You have to take your time.

You feel it in the words...

All right.

Let's do it.

Right now, you're marking

the spots where these... will occur.

Well, we're trying to set,

based on work we've been doing before...

We're trying to...

to set... temporarily...

it will change in rehearsal,

we'd need 3 or 4 months for that.

Even though we're playing in 2 weeks,

we're on time.

Let's say we'll do it later,

but it would take...

four or five months to achieve.

Shouldn't the actor's individuality intervene

on the spotting of these breaks?

If we... In principle, no.

If we manage to find the pattern...

We have to find

the play's unity, the author's unity,

to get near the author's rhythm

by becoming ourselves somewhat...

then, passing on that rhythm to the others...

The rhythm of thought and word

right when it crystallises in the mind.

When each idea is coming

to push the previous one aside.

Since you're playing one of the parts,

doesn't that make it clear

what the director's function is?

For instance, when we'll look at these rushes,

like we did before,

we'll see you on screen, now you'll be Pyrrhus,

and now the director.

Seeing your rushes the other day

really helped me some.

I understood I was trying too hard...

What I was doing felt too...

too directed,

too manipulative.

When looking at moments of the play?

Right.

Looking at the rushes, I felt I was manipulating people too much,

trying something else.

Well, you meant... Pyrrhus... the director?

I was saying that by playing Pyrrhus

while being the play's director,

you're not just adding a role to your function,

you're also in a way directing it.

In spite of my efforts, resistance proves vain.

Blindly I follow the fate that claims me.

I love; I've come to seek Hermione,

to sway her, abduct her, or die in front of her.

You know Pyrrhus, what do you think he'll do?

In his heart...

- In his court. - In his court, in his heart...

Keep your back turned.

You know Pyrrhus, what do you think he'll do?

In his heart...

In his court, in his heart, what do you think he'll do?

Does my Hermione still capture him?

Will he return what he's taken from me?

Yes, not bad.

Two beats, there.

Two?

Well, I didn't count them.

"I would deceive you..."

One more time. Come back here.

"To sway her, abduct her...", you're here.

I've come to seek Hermione,

to sway her, abduct her, or die in front of her.

You're still here?

I'm going to bed.

- Am I disturbing? - Yes.

You're going to sleep here?

Yes.

You'll be uncomfortable.

Yes.

We'd be better off in your maid's bed?

I'm true to tradition.

You do that often?

It's the first and last time, I hope.

Move over, I smoke in bed.

- Are you satisfied? - Are you?

The lure of novelty.

- Sending me away? - No, but...

it's the same.

I'm tired, I'm going to sleep.

You're working tomorrow?

Rehearsing on Sunday?

The actors won't rehearse, I'll be working.

Doing a summing up.

If I come by, I won't disturb?

No.

Well, yes, but come by if you want.

I'll see. I may drop by.

See you tomorrow.

Sébastien?

- Am I waking you up? - No, it's all right.

Claire tried to kill herself.

Not serious. She hurt herself a bit.

She's fine now. She wants to see you.

Are you coming?

Yes, right away.

Hold my head in your hands.

Hold tight.

I'm taking a long trip

or a small trip

over rocky ground.

Did you find anything?

No, I can't...

I can't find anything in these programmes.

I can't read them or understand what they're about.

So let's not go to the movies.

OK, let's not.

What shall we do then? Go to the theatre?

- It's a bore. - Me too, plus I'm at it all day.

And the theatre is no fun at all.

Let's have a lovers' evening.

Right. Put on a record.

- A lovers' record? - Yes.

Which one? This one?

No, I just turned it off.

We should find a film to see.

But we've seen the good ones.

Shall I put on this one?

You just put it back in the sleeve.

We've just listened to it.

Another one.

Why not this one?

You don't like it?

Put something else.

We've heard it all day.

Now wait. Which one...

Got it! This one!

No?

- You're silly. - You don't like it?

- Yes, a lot. - I like it too.

- It's too long. - We just heard it.

Not this one, right?

This one!

Not good either. This one yes, that one no.

- What's this thing? - I just bought it this afternoon.

I liked the dog's picture,

but I listened to it, it's no good.

You know why I bought it?

Because the dog looks like you.

Yes, exactly.

- He's nice. - Has the same nose,

the same sad eyes,

a small scab on the lips...

and ears...

I'd like to have such a dog.

Really?

The trouble is, they grow up

to be huge, like a big sausage.

When it grows up, we throw it away.

We throw it away.

- That's not nice. - Or we eat it.

We fatten it up.

We pick it up carefully. A nice little puppy.

We fatten it up with quality food,

and when it's grown up, we eat it.

Don't you think so?

Well I think so.

What can I say.

Eat one dog, keep one for tomorrow.

I'm not laughing.

Neither am I.

Come, let's go see a film, one we've already seen.

Or go for a stroll around Paris?

You know,

I'm sorry you're not in Andromache.

I'm sure we'd have had better ideas with you.

Today, for instance,

I had a great idea

for me and the actors, about alexandrines.

You must just speak them

as if they weren't, find the rhythm

as if there were no alexandrines.

Then, they start living a life of their own.

You see?

They come out like pure rhythm.

All 12 syllables echo in your ear.

And then...

you wonder, why this alexandrine line?

You see what I mean?

Tuesday the 22nd

Is this the dog kennel?

I'd like to know if you have a dog...

a dog with long ears...

with sad eyes...

and a long, sharp nose. Well, not that sharp.

Yes, a hunting dog, surely.

No, not a pointer.

He has freckles.

No, I think it'll be simpler

if I come by and have a look.

I'm in a hurry.

Goodbye.

I'll ask a few questions.

How's it going?

Not bad. You see for yourself.

For Sébastien, is it going well?

I hope so. Well, I don't know.

He has a few problems with us,

but it always happens that way.

Always, really?

Sure. Rehearsals are about working...

Wasn't there a special problem here?

There was some trouble with Claire, but...

Who's Marta, her replacement?

I think she's his ex-wife.

- She seems to be fine. - Yes, she is.

You don't look so...

Yes, she's fine. I...

We haven't performed with an audience yet.

We'll try and block them.

I came in...

at the end, with Claire.

What happened, exactly?

I don't know.

I don't know. It's Sébastien's business.

Michèle.

Please take your places.

Claire is my friend...

I'd like to interview Marta.

What do you think?

Do it.

Sure!

You want to see a puppy?

I'd like a dog like this one. I called earlier.

You were the one?

It's a basset artésien normand, a crossbred of basset d'Artois and...

- You have one? - No, I don't.

I doubt you'll find one in Paris.

It's becoming very rare,

everybody wants one, it's a year's wait.

What can I do?

It's a disaster. I must have one by tomorrow, or the day after.

I may have another suggestion.

I have a beagle here, it looks like it...

Let me see.

He's cute.

More or less similar.

It's two-coloured, with long ears.

But it's not a basset.

- It's not him at all. - No, it's not.

That's the one I want.

I absolutely want this one.

They don't have the same eyes.

He has long ears, too.

Only 10,000.

Just for dinner.

A gentleman to see you.

So, Hermione?

How does it feel?

- To be playing Hermione. - It feels good.

What else?

- To take up the role in stride? - To take over?

It wasn't too hard. Rehearsals had hardly begun.

They'd set on a work process.

When I came in, I just took over,

then we changed things.

- You did readings? - Yes, we did.

So what we're doing now, we practically started together,

and it's not difficult.

I'm feeling the difficulty when they do.

You've played this kind of role before?

I have. In another way, sure.

So you like it?

- This way or another? - No, this way.

Yes, I like it better.

It's much better.

How did it come about?

- How's that? - You're taking someone's place.

So?

How did it happen? A list of available actors?

Ask me something else, would you?

- Do you mind? - Yes.

Why torture me, you cruel girl?

I fear to see myself in the state I am in.

Of what you see, try not to trust a thing.

Believe I love no more,

praise my victory.

Believe spite hardened my heart.

Alas!

Where am I?

What have I done?

Where am I?

What have I done?

What shall I do?

What fit of passion is gripping me?

What pain devours me?

Aimlessly I wander through the palace.

How can I know

whether I love or hate?

How can I know whether I love

or hate?

Cruel! With what a look he dismissed me,

no pity,

no grief, not even feigned.

Did I see him troubled, caring, for an instant?

Was there the smallest moan for me?

Deaf to my sighs...

Oblivious to my woes,

was he ever part of my tears?

And I still pity him!

There's worse pain yet. My heart,

my coward's heart is still involved with him.

Act lll, scene one?

Go ahead.

You must restrain this awful rage, my lord.

I do not know you. You're beside yourself.

No, the time for your advice has gone.

I'm tired of listening to reason.

My pain, my life have dragged on too long.

I must depart with her, or else I die.

My mind's made up. I mean to see it through.

Take her then,

agreed.

But consider where you are.

What will they think...

"But consider... where you are."

Don't link the words.

Take her then,

agreed.

But consider where you are.

What will they think, seeing how you act?

Tell me, what man

wouldn't be overcome by this blow that shatters my reason?

He marries Hermione tomorrow.

As an honour, I must give her to him.

I'll sooner slay the barbarian...

Wait.

Just go on, I'll be back.

Tell me that I may hope, I'll give you your son,

teach him to avenge the Trojans,

punish the Greeks for your ills and mine.

Sir, could you give me the dog's address?

I came to see you yesterday about a basset artésien.

19, rue de Pontigny.

Thank you. Goodbye.

Sorry for disturbing you.

I was given your address in a kennel. I was looking for a dog,

and they told me you had two bassets artésiens.

It's an exaggeration, I only have one.

Well, they told me you might have a litter.

Definitely not. But come in.

Have a seat.

I didn't quite get what you're after.

For some reason, they sent me to you at the kennel.

If I understand right,

you're not selling any dog.

No, I only have one.

I'm not selling it or giving it.

I'm sorry.

Do you know anyone who could get me one?

A friend has some from the same litter.

Go back, go back to Helen's daughter.

How can I?

How you torment me!

How can I give back the heart you've won?

- And you turn away. - Right, I turn away!

Gently, very gently.

"How can I give back the heart you've won?"

Can you get in touch with him?

Yes, I can, tomorrow or the day after.

I'd be very interested.

Does it matter so much?

Excuse me, the telephone.

If I fight for you, will you allow me to see you no longer as an enemy?

What will Greece say? So great a heart...

Making it short?

You were out of film?

I was thinking filming rehearsals is very hard.

I doubt the audience is interested.

Filming rehearsals?

It's interesting, with some explaining,

to shed light on...

Of course, people don't see anything.

But when you do some explaining,

you start rambling

through stuff that's not yet final...

It's interesting to film rehearsals

if you record all the stages, until opening night.

So you can witness the transformation.

I think.

What I mean is...

I was thinking of the rushes we saw.

The problem, when you film rehearsals...

since we can regard the words,

Racine's words, as an object...

isn't that object transformed by the filming?

Isn't it absurd to film someone speaking,

delivering a text by Racine?

Making a film of Racine... Racine as a film would be a great thing.

Much better than onstage.

There's a film, but I haven't seen it.

Where am I? What have I done? What shall I do?

What fit of passion is gripping me? What pain devours me?

Aimlessly I wander through the palace.

How can I know whether I love or hate?

Where am I? What have I done? What shall I do?

My tears ask only for exile.

Far from the Greeks and you, let me hide...

Yes, right.

... from the Greeks and you, let me hide my son...

I wander through the palace.

How can I know whether I love or hate?

Cruel! With what a look he...

Did he soften or care for an instant?

There's worse pain yet.

I tremble at the menace of that blow...

death blow, blow a fuse, blow your mind...

blown away.

And I still pity him, devious, ungrateful,

cruel.

Anybody, anything.

A ridiculous, rotten, shitty Don Juan.

As long as he gets laid.

I hate him. Let him rot, let him perish,

let him die.

Forgive me.

It's not your fault but mine.

Funny.

I'm the guilty one, whereas you...

Is this TURbigo 46-70?

Could I speak to Mr. Sébastien Gracq?

No, he's not here.

I'm a young actress. I'd like to know...

I don't know. I hope.

Maybe.

Could I come and meet him where he's at now?

I have no idea. I don't know.

Pardon me for insisting,

I'd really like to meet him.

I've seen his show.

I liked it a lot.

I really did.

I'd be so happy to work with him.

Even a small part...

Are you OK?

As usual.

Is your arm better?

Sure, it's nothing.

What a flop that was.

Next time, I'll try and do better.

You should go away and rest.

Yes, sure.

I'll do that.

With Sébastien?

With Sébastien, it's... a disaster.

Nothing works. I don't understand.

What he wants, what he doesn't want.

He's really strange.

It's been a while since nothing works.

You must really go away.

You've lost a lot of weight...

Yes, I have to go, one way or another.

You're right.

You're not drinking?

I don't feel like it.

Sébastien didn't say anything?

No, we're just working.

He's strange.

Don't you find him strange?

He's absorbed in his work.

He's shutting himself away.

He's what? Shutting himself?

I'm going to ditch him. I'm fed up.

Really fed up.

It can't go on. A total washout.

Isn't it?

And I can't make up my mind.

It's no fun.

You must do something.

- What? - You must do something.

What do you mean? Of course, I will.

It's hard to say.

If it helps, you should talk.

But I can't.

I can't.

I can't talk.

I think I'll go away.

Soon.

Are things OK...

with Hermione?

What is it?

An elephant, as you see.

Who gave it to you?

Puck. Her cat had seven.

What shall we call it?

Who?

Him. It's a he.

I don't care.

Neither do I.

How about that for service!

You didn't order a baby, you ordered a double.

I got half.

Come on, let's have an orgy!

And cigarettes too. Come on!

- You want cigarettes too? - I don't smoke. Bad for my voice.

For your voice?

I have more problems.

This is for you.

This is our great night.

You're not feeling well?

Something wrong?

Sébastien, we must have a talk.

A talk about what?

You have to tell me.

You want to leave me? You want a divorce?

Please, I have to know. You must tell me.

I can't go on living like this.

I have nothing to tell you.

Nothing.

Yes, you do. We must talk.

Look, I'm tired.

We'll talk in the morning. I have nothing to answer.

Tomorrow. Now we must sleep.

Answer me. Look, Sébastien.

I have to know. You have to tell me.

You have to tell me.

You must tell me, you hear?

I have to know!

Answer me!

Sébastien, look at me.

Sébastien, you must tell me.

I have to know.

Sébastien, will you tell me!

Thursday the 24th

A broken-down car at the red light.

Please, come over.

Michel,

over here.

I'd like Hermione

and Cleone to be over there.

The two of you, here.

If you want to start at 8:30,

by 8 to 8:30,

everybody should be on stage.

Halfway through these 30 minutes,

each group places itself at its exit point,

looking at the audience,

taking hold of the audience.

Feeling them.

The old bitch across the street is cleaning her windows.

Two nuns are passing by.

One spits, the other blows her nose.

We'll rotate on stage.

We'll be scattered. The next 15 minutes, we'll come over here.

We're leading them along.

All very simple.

Your first entrance...

There may be a bell ringing, something,

when the performance starts.

At the start of the performance, a bell will be ringing or something.

The light changes,

and those who aren't in scene one

make an exit the way they'll be entering.

Meanwhile, as the others are exiting,

you get your place over there.

Facing the audience.

So then, bang!

Bang, everybody exits.

Yes,

reunited with a loyal friend,

my fortune now has a new face.

Its wrath already seems milder,

since it makes us meet here together.

Who thought a shore fatal to my days

would present Pylades to Orestes' gaze?

After six months, you lost at sea,

at Pyrrhus' court you return to me?

New series.

Evidence number one.

Number two.

Number three.

Number four.

Number five.

The horror!

Could I speak to Puck?

This is Claire.

What scene are they rehearsing?

Orestes and Pylades.

- Is it going well? - I think so.

Has Dennis learned his lines?

More or less. Not quite.

And Sébastien?

He looks satisfied.

By the way, the little cat has died.

No, I'm joking.

He's just very ill. Does it make you sad?

Well, too bad.

See you soon.

So, Pyrrhus exits.

- You're going? I am. - Yes, he's already out.

I told you that,

in spite of Greece, you'd still be mistress of your fate.

Alas! What effect your speech has!

All I could do was condemn my son.

My lady,

to your husband you've been faithful enough.

What?

I'd choose Pyrrhus to succeed him!

As is the wish of his son, whom the Greeks took from you.

Forget his father nearing death,

bloodying the altar he embraced?

Think, think, Cephisa,

of that cruel night, casting on all

an eternal night.

Picture, in these horrors, Andromache distraught:

this is how Pyrrhus came to see me;

this is the exploit he was crowned for;

this is the husband you want for me.

Well,

then let's go see your son perish:

They've been waiting for you...

You're shivering, my lady?

Ah! With what memory are you hitting my soul?

What, Cephisa?

Again I will go see this son perish,

my only joy, the image of Hector?

Yes, that's what I think.

Now, you're spending three weeks rehearsing.

You're doing nothing else.

Sure, even when we don't rehearse,

we must work around the clock,

so automatically, there's less private life.

Theatre people don't care much about private life?

No, I don't think they don't care.

We make a choice. If it's the stage...

It becomes very difficult, because

you decide on the units. Then you have to decide on the time,

the play's length matters a lot.

Within all those breaks, you must also...

each line, each sentence,

the sentence is not always a line...

you have to build it all in your mind.

It's work...

You have to find simplicity

through intricate detours.

Above all without showing it,

which means going against what classical trained actors display,

that is, expression. Not to express.

Not to express to give the audience...

You were asking, why do actors speak low?

Because in the end, it doesn't matter

whether you show the effort to the audience.

You're not selling them a product to make them happy.

Like, we're making an effort to bring them a text.

No matter. What matters first is that we,

here, on the stage,

we should actually feel what we mean to say.

Then, passing it on will be an easy task.

By the way, I don't think

that, at this point, it can reach, or appeal

to the audience.

We're going against the grain.

Forget about the famous acting skills,

talent, inspiration. None of this.

Nothing will be expressed.

But then, how can you...

I've been wondering... since we're always here.

How can you act without ever being alone?

The actor is never alone. Is that a technique?

Alone, how?

When you agreed to us being here all the time,

wasn't that going against...

Could I speak to Marta, please?

She just left. The rehearsal is over.

Is this Claire?

Are you all right?

Marta, this is Claire.

Could I see you?

Right away.

The café next door.

Fine.

Let's talk about Andromache.

Coffee, please.

How are you?

- Tired. - You look it.

Why did you call me?

I don't know, nothing.

I'm going shopping, the fridge is empty.

Four yoghurts, please.

1 franc 24.

One pound of oranges.

That'll be 78 centimes.

Anything else?

What did you think of the rehearsal?

I'm not thinking much right now.

I'm not...

thinking clearly.

It wasn't brilliant...

let's face it.

Don't worry. It's always that way.

There's that time when we're lost.

Until the miracle happens.

Just not in front of the audience.

Anyway, I don't want to go on talking about Andromache.

And Claire might be bored.

What are you doing these days?

Nothing.

Pass it on.

Don't you think the dog on the sleeve

looks a lot like Françoise...

like Claire?

You know, Françoise,

don't worry about me.

I'll pull through.

I'm distancing myself.

Why do you say that?

Don't you see what's happening?

Don't you see he's driving me mad?

Like the others, you're pretending not to see.

Everybody's deceiving me.

Everybody's against me.

Here.

If it's that way... My other wives used it before.

Ladies?

Nobody's tempted?

I want a divorce.

Bastard, you make me sick.

You only want me when I'm in a crisis.

Don't touch me. Go away!

You're not going to the theatre?

I don't feel like it.

But you must. You'll be late.

I'm going.

Me?

I'll ask a few questions.

I don't want to be indiscreet. I've asked Marta.

She seemed embarrassed, I don't know why.

But she's very good.

- But? - She's very good by now.

- Very good, in the play? - In her part.

Perhaps there's no relation.

Maybe she's annoyed to be questioned.

For instance, I asked her how...

Since actors, in principle,

tend to forget

what they've been told...

That's it.

You know Sébastien well?

Well enough.

You know him best around here.

Maybe, I don't know.

Yes.

Sébastien is not that...

I have a feeling that,

for some time,

something's been happening here.

The fact he changed his staging seems...

very odd.

For instance, replacing Claire...

She had to be replaced, since she'd left.

We had to find someone.

Changing is natural.

Changing the staging halfway through,

that's normal. It can happen.

You realise you were going the wrong way,

you want to try something else.

Sébastien told me, when I arrived with my team,

he said:

"You do what you want,

"you cut me off during rehearsal, ask whatever questions you want."

No holds barred.

I have the feeling,

now, that...

These last days?

... for two days, that he does mind,

that they all mind having us ask questions.

Maybe they're fed up?

A little. Answering questions is hard.

Yes, really hard.

When you're in the middle of a job like he is,

he's immersed in his work,

he stays very focused.

Then, all of a sudden,

you have to answer someone else...

it's a nuisance.

He should never have agreed.

Promise he'd answer...

in a nice way.

Cut.

New evidence against Sébastien.

Against Sébastien.

Against Claire.

Bertrand? This is Claire.

Can I see you, now?

Well, all right.

Philippe, are you home?

Can I see you?

I'm coming.

Michèle, can you get the places?

Claire.

Coming to see an old friend?

What a face!

Sit down.

So, what's up?

Are you ill?

Nothing.

Have a cigarette.

I don't smoke.

So, what is it...

I wanted to see you.

Great.

Isn't it?

You really look like a mess.

Think so?

It's OK.

I have sticky fingers.

How so?

What is it?

I don't know. Maybe the emotion.

An iron flies through the room.

An iron is flying?

That's really too funny. Too much.

How I fear this ominous calm!

It would be better...

Have you called Orestes?

He's on his way, my lady.

See how readily he will kneel to you.

Ever ready to serve, hoping for nothing,

your eyes all too sure of pleasing him.

Here he comes.

Is it true that once, Orestes, seeking you, meets your wish?

Haven't I been deceived by false hope?

Did you ask for my presence?

May I believe that your eyes, disarmed at last, want...

I want to know, my lord, if you love me.

If I love you?

You gods! My speeches, perjuries...

When I depart, I want all Epirus to weep.

If you delay, you have refused me.

Run to the temple. You must sacrifice... Pyrrhus.

What! Your hate wavers?

Run, lest I call you back.

Do not claim rights I'd forget. It's not for you to justify him.

Let's take revenge, but by other ways.

Let's be his enemies, not his assassins.

Let's turn his ruin into rightful victory.

What's your game?

I'm not playing.

You find it funny?

Very.

So it's OK?

Despite the shameful way I've been betrayed,

despite my just horror at his crime,

while he lives, fear lest I pardon him,

doubt my wavering anger.

He dies, or I may love him tomorrow.

He must die then,

before he is pardoned.

Yet what is it I must do?

Scarcely have I arrived in Epirus,

you want me to overthrow an empire,

a king to die, and for this you allow

one day, one hour, one moment.

Yet today he weds Andromache.

Will you defend his life in spite of him?

Arm, with your Greeks, my followers.

Raise your friends, mine are with you.

He betrays me, wrongs you, despises us all.

Lead, or follow their fury.

Return covered with the infidel's blood.

Then be certain my heart is yours.

- My lady, consider... - Enough said, my lord.

This reasoning insults my anger.

I wanted to offer you the means to please me...

What, you're going?

I'm fed up, yes. I want to go home.

Claire?

No. Well, yes.

Rehearsal's over.

Tomorrow, same time.

Goodnight.

What would you like?

I'd like... peaches.

One kilo?

- You're not eating? - You taste it first.

Don't you want some wine?

Yes, I'll have some.

Would you set up the wake-up call?

Set up the wake-up call for tomorrow at 10?

What's going on?

Why do you keep me with you?

Why don't you get rid of me?

It's easy, since I'm mad.

Why do you say that?

Sébastien, I've thought about it.

It's best if we split up.

Perhaps just for a few weeks, the time to think things over.

Maybe later, it can be like before.

Maybe.

You think it's necessary?

Sébastien, I'm going to leave.

I'm leaving tomorrow morning.

Don't worry about me, I promise.

It's the only thing to do.

We must.

We must.

We mustn't.

We must.

I don't want to.

Stop it.

Sébastien, stop it.

Saturday the 26th

How I fear this ominous calm!

Have you called Orestes?

He's on his way, my lady.

Ever ready to serve,

hoping for nothing,

your eyes all too sure of pleasing him.

Here he comes.

Is it true that once, Orestes, seeking you, meets your wish?

Haven't I been deceived by false hope?

Did you

ask for my presence?

May I believe that your eyes...

I want to know, my lord, if you love me.

How do you call the kitten?

We don't.

If you delay, you have refused me.

Run to the temple. You must sacrifice...

Pyrrhus.

What! Your hate wavers?

Come in.

That I hate him,

and that I did love him?

I won't pretend.

He knew how to please me.

Was it my heart or my father's command, no matter.

Decide for yourself.

Look, it can't go on that way.

You see, you know,

you've seen.

No sense in rehearsing like this.

You must do something. Or stop.

They all come to me, what can I say?

Nothing.

They're uptight, and the mood...

is so tense.

We're not making progress.

Plus, it's getting worse and worse.

They feel so stressed out...

What's the matter with you?

It's not...

It's not about the rehearsal.

Nothing to do with the play.

- I know. - It's not their fault.

Look, let me tell you.

You should... talk to someone.

Get it out. You can't keep everything within you.

Or you must put it in the show,

let your anxieties come out,

and you'll get some result.

There's no result here, there's nothing.

You're not here. It shows, I can see it.

You're not seeing them at work.

You can't...

You're closing yourself off.

I'm just giving you advice...

You should speak out.

You can see they're all... even if it gets on your nerves,

they're all hanging on to you.

They're actors, you've hired them.

They're waiting for you to speak, and then... nothing.

Sure, but...

why don't they work for themselves.

No, frankly.

No, be honest.

Either you tell them: "I'm sorry,

"I'm not focus sing, I'm taking three days off

"to think things over."

Or you just do it because you're committed to do it.

They can't rehearse. You have...

specific ideas on some points,

and now, you let it all go.

Look at them. Me, I'm coming to see you,

and that's really taking some nerve,

even from me, knowing you for so long.

I'm taking it upon myself to come to you.

I don't know, you could...

After all, I don't give a damn.

In principle, I shouldn't give a damn.

I hate to see you like this.

Yes, but...

I can't...

I can't help it.

It makes me laugh.

What's making you laugh?

The two of us, being like that.

Of course I know it's all a mess.

I can see, but...

Either that's the way I am, or...

I have a suitcase in my head,

it's tumbling.

Hold it tight,

or it's going to open.

Socks coming out of the eyes,

handkerchiefs coming out of the mouth.

I can't talk.

In you Greece finds a rebel child?

Did I win to be dependent on her?

Hermione will arrest your blows. She'll stand between her father and you.

Hermione may be dear to me

without my being her father's slave.

You may visit Helen's daughter. I know the blood ties that bind you.

I'm no longer keeping you. Tell the Greeks of my refusal.

I'll share my heart another time.

You seek me, my lady?

... to where my son is kept.

I haven't embraced him yet today.

The Greeks will soon give you other cause for tears.

What is this fear that strikes their hearts?

Their hatred for Hector is not dead.

A worthy cause for fear!

I Know your sorrows. But my father's word imposes silence.

He raises Pyrrhus' anger. Who but you can sway Pyrrhus?

You have long ruled his heart.

Make him decide. I will abide by that.

How scornfully she denied us!

Heed her advice, see Pyrrhus. Defeat Hermione and Greece.

You told me she was here?

I thought she was.

See the power of my eyes.

- My lord, let us follow Hermione. - Michel!

What are you waiting for?

- He's promised them my son... - Once more.

Sorry!

You told me she was here?

I thought she was.

What does she say?

My lord, let us follow Hermione.

I'd only annoy him more.

Let's give Hector's son to the Greeks.

Wait! What do you want to do?

With the son, give up the mother too.

Is there no hope for pardon?

Phoenix will tell you, I gave my word.

You'd defy such risks for me!

No, you hate me; deep in your heart,

you fear to owe anything to my love.

That son, object of such care, saved by me, you'd love him less.

Hatred, contempt, unite against me.

You hate me more than all the Greeks together.

Let's go join my husband.

What could I add? Source of my ills, he knows them well.

Wait for me, Phoenix.

Your son can be returned to you.

I fear that rousing you to tears...

Haven't I been deceived by false hope?

Did you ask for my presence?

May I believe that your eyes...

I want to know if you love me.

If I love you? You gods! My speeches, perjuries,

flight, return, respects, injuries,

despair, these tears, what witness will you believe...

Avenge me, I'll believe all.

Let's go. We'll set aflame all Greece;

Let's reclaim, you Helen's place, I Agamemnon's.

We'll waken Troy's sufferings in this land.

Let us go.

No, wait. There's no use.

Acts IV and V are all Hermione's.

Without Marta, there's no use.

Let's stop here.

You should do some homework.

You don't do any, and here...

Not knowing the text is one thing, we can act reading, but...

working's another matter.

See you tomorrow.

Sorry I'm late.

You've got some nerve.

I was in the country.

In the country!

We always do the others' job.

You're going?

Yes, we're through.

You can find another excuse.

Tell us another story.

You didn't do it on purpose?

The water's cold.

You think so?

Monday the 28th

"I was born to serve..." You're sinking.

"I was born to serve as example for your anger."

See? The will to be...

"... the perfect model of wretchedness."

"I die content, my fate fulfilled."

Looking at him: "Where are the lovers?"

But if you concentrate

to make him a huge monster...

It takes a lot of concentrating from both, they are...

I don't know...

"Let's unite three hearts...

"who couldn't be as one.

"What sudden darkness..."

What sudden darkness surrounds me?

Where can I escape?

Why am I shivering?

What horror grips me?

I can glimpse...

Gods!

What streams of blood flow around me!

Or maybe...

Daughters of hell,

are you ready?

Who are those snakes for, hissing in your hair?

Who is all this meant for?

Do you come to take me to eternal night?

Come,

Orestes yields to your rage.

No, go away,

leave it to Hermione.

Better than you, she'll tear me apart,

I bring my heart for her to devour.

Great, now you've returned to your mother's womb.

Totally.

You go that far.

So what do I say?

That we're going? That I...

What? What do I say?

You must get away to think about the play.

Michèle?

Sébastien speaking.

Wait. Say...

No, Claire was tickling me.

Do we... I wanted to tell you...

You're leaving to think about the play.

I have to go away for two days, because...

because I have to think...

Talk to Claire, she'll tell you.

Listen,

Sébastien wants to leave for two days

to prepare,

he's a little confused.

So he wants to take two days off and...

- and concentrate. - She's got to let them rehearse.

You must let them all rehearse.

Especially Dennis, for his lines.

He'll call you from over there.

He's not going far anyway. In the Vallée de Chevreuse.

He'll call you when he's back.

And you should see about the costumes...

That's it.

I'll let you talk to Sébastien again.

Michèle? Sorry about just now.

So you do just that.

I'll call you when I'm back. And thanks.

I'm sorry. Bye. Big hug.

Are we sleeping?

Yes, we are.

Yes, we're sleeping.

With a little flower in the nose.

You make it look like it.

Say!

You have flowers in your nose.

So it's a nose-screw and an ear-screw.

At the same time.

Not bad.

What's that on the right?

Up there.

It's your opulent bosom.

Not my bosom anyway.

It looks like another bosom.

And milk spurts out!

It's an unknown bosom.

What's that?

Your little forest.

Silly.

Does it write?

Mine doesn't.

It's white on white.

- You're painting? - Wait, wait.

Wait. We'll tint it some.

There.

It's starting to look better.

There.

Better already.

Nothing left to write with.

Nothing left.

We mustn't copy,

from each other.

Look!

Do you recognise him? Come and see.

Wait, I'm not through.

You have to pass over the lines,

or nothing shows.

No, I don't see.

It's a good likeness, though.

You have any scissors?

I'm cutting off the tit.

Let's save that.

We don't have any pins, it's a drag.

Wait, you'll cut off the tip.

Done. Yes, the tip...

No, further up.

We don't mean the same tip.

Come.

No, I'm not finished!

Finished.

Wait, I'm not finished.

Get it done, then.

What are you doing down here?

Nothing.

Never mind.

But I do mind. I want to know what you're doing.

Can't you feel?

Shame on me.

Fine. I'm finished with my work.

I'm just starting.

To each their work.

To each their work and time.

Jean Racine, Andro-mackerel, white-blue-red wine.

Give me some red wine, waiter, and a glass of Andromache.

You know the story?

- Neither do I. - Want to tell it?

I'll try.

I've been told

that Mr. Jean Racine,

with his spaniel's wig,

wrote Andromache, and that Louis XIV

played Pyrrhus.

And that the...

What's her name...

Something like that... La Du Guesclin...

La Du Guesclin was there.

It was La Du Guesclin.

The great actress Du Guesclin.

And Bayard was Orestes,

and Charlemagne...

Pylades.

That's not it at all.

Not at all!

Because Hermione

was no filter tip!

- A filter tip? - It was. ..

Vercingetorix was Pyrrhus.

Andromache

was Hermione, and Hermione was Bach.

So what did Bach do when he was told to make love?

What could he do? If he was told:

"Come, Bach!"

Come back!

See?

- To make love? - So what does he do?

"But I can't.

"You're telling me to come, and come back."

Once I was told

that story with "Come, come back,"

and I didn't get it at all!

- I never got it. - Neither do I.

Yes! It wasn't about making love.

He wanted to have a fight with me.

So it went: "Come, Bach!"

"How can I do both?"

He couldn't. Bach was always a loser.

He always lost. They said he won.

- Did you like my story? - Yes, I liked it a lot.

You have to hold me very close.

Sébastien wants to get me back.

To get me back and kill me.

They say

killing is easy.

Wrong.

Killing my childhood, killing my love.

Cradle my water.

I'm fine in my water.

We're like fish.

Passing by each other.

Brushing against each other.

Falling asleep.

And in the early, the bright morning,

or in the afternoon,

touching.

Knee, calf, heel, toe.

We're there.

Come.

Come closer.

I feel cold for you.

Look out!

I'm charging.

Will the hammerhead hold?

I'm losing my hat.

Stop it! I can see you!

Wait, I'm not...

I'm slow.

I'm disadvantaged.

How ugly!

It's hideous!

We're through!

I made it!

The door's open!

Not mine. And you've broken everything.

Come on, bitch!

It's not a pretty sight.

Really ugly.

Perhaps...

a little spot in China left.

Let me rip you off.

Go!

What?

We should wake up.

We must go on. There's work to be done.

Come on!

Where do we start?

I don't know.

That thing. Let's go!

Take over, you bitch.

Pictures over there.

We'll take them all off.

Take this! The TV set.

Break down the TV set.

Not like that!

How do you do it?

Doesn't work.

It's dangerous. It's solid, iron.

We'll throw this.

Come over.

Take your clothes off.

Which way do we put it?

Careful with the fingers.

I don't know. I have no idea.

In the middle, next to the others?

No, not again!

Who's there?

It's Little Red Riding Claire

with her cottage cheese and fine jam.

Come in, child.

- Good morning, Grandpa. - I was expecting you.

Here's a visitor.

Hello, my boy.

I'd rather

eat this than Gervita.

Really?

I'm so tired now.

Say,

will we paint everything purple, like this?

And the other side, flu or green.

We could do everything in flu or, with black lights.

No... well, yes, for this room.

We can do the whole room in fluor,

and paint...

the other rooms...

the other rooms in...

loud colours, but not...

not fluor.

In fart colours.

Then we'll...

It's not right?

Is there anything but cottage cheese and yoghurt?

That's all.

We've had it four times.

I bought only this because you like it.

That's nice.

Thank you.

I'm a stiff.

Me too, I'm quite a stiff.

We could be Mr. and Mrs. Stiff.

Maybe we could...

Have some sleep.

A short nap before eating.

Before eating Gervita.

We're fine here, aren't we?

Are you sad?

Are you crying?

I'm tired.

We've played too much. I don't want to.

I don't want to see you.

Go away.

I don't want to see you.

Sébastien. Yes, I'm back.

Everything fine? Did you do some rehearsing?

Say, could we have a rehearsal tonight?

Even with two or three of them, no matter.

Right, at 9.

See you then.

I'll tell you.

Because she's dying, must you die too?

Dying? Gods!

What?

You didn't know?

Returning, we met her,

running to the temple distraught.

She saw Pyrrhus carried by his men,

his blood demanding quick revenge.

Her frenzy was stirred at this sight.

We saw her from gate's height,

dagger in hand, bend over Pyrrhus,

look at the sky,

stab herself, and fall.

Praise the gods!

My woe exceeds my expectation!

Yes,

heaven, I commend your dedication.

Intent on scourging me without relief,

you took me to the depths of agony.

Your hatred set on causing me despair,

I was born to serve as an example for your anger,

to be the perfect model of wretchedness.

I die content, my fate fulfilled.

Where are these lovers?

This joy to crown,

I'll bathe in their blood, mine, and drown.

I want to hold them in my dying sight:

let's unite three hearts who couldn't be as one.

What sudden darkness surrounds me?

Where can I escape?

Why am I shivering? What horror grips me?

Praise the gods,

I can glimpse...

What streams of blood flow around me!

What?

Pyrrhus,

do we meet once more?

Must I always find the rival I abhor?

Pierced by blows, you survived?

Here's...

Here's the blow you deserved.

What's this?

Hermione embraces him!

She came to save him from my blow?

What deadly looks I get from her!

What demons, what snakes behind her?

Daughters of hell,

are you ready?

Who are those snakes for, hissing in your hair?

Who is all this meant for?

Do you come to take me to eternal night?

Come, Orestes yields to your rage.

No, go away, leave it to Hermione.

Better than you, she'll tear me apart,

I bring my heart for her to devour.

He feels no more. Friends, time presses.

Use the moments his fit grants us.

Save him. Our effort is worthless if, once senses back,

his nightmares surface.

You see... for this last moment...

I'd like to talk to someone over there,

because I'm talking to myself, I'm doing myself in.

There'll be people there.

Put someone there!

I'll go there.

I'll play the guard.

You OK? You can carry on

and practise, work.

Puke a little, come on.

You would need to...

- What time is it? - 9:30.

Let's stop for a while.

You OK?

You're here already?

Could we have one or two hours to rest?

We're beat. We worked all night.

You'll be back at it later?

Coffee first?

Thursday the 31st

Heed her advice, see Pyrrhus.

Defeat Hermione and Greece.

He seeks you...

Where's the princess? You told me she was here.

I thought she was.

See the power of my eyes.

What does she say, Phoenix?

Alas! All is lost.

My lord,

let us follow Hermione.

My despair awaits their indifference: let them deny me hope,

say again what they have said.

It is for you to find a victim here

Scythians would have spared, had I found them as cruel as you.

Stop this talk of death.

You know it too:

Andromache would kneel to no other lord but you...

No.

You hate me.

Deep in your heart, you fear to owe anything to my love.

That very son,

object of such care,

saved by me, you'd love him less.

Hatred, contempt, unite against me.

You hate me more than all the Greeks together.

Enjoy at leisure such noble wrath.

Come, Phoenix.

Let's go join my husband.

What could I add?

Source of my ills,

he knows them well.

My lord, see the state you reduce me to.

To content Orestes; yet I see he'll complain always

and deserve nothing. Go.

Brag elsewhere of your constancy

and leave vengeance in my care.

I've been too kind, and been refused too often in one day.

I go to the temple where my wedding awaits,

where you dare not go to deserve me.

There I'll reach my enemy...

I thought you'd be filled with hate.

At least towards me turn your gaze:

see if these eyes judge with severity,

and if they are those of an enemy.

Why force me to betray you in this way?

In your son's name, let hatred cease,

it is I who seek to save him now.

Must I sigh and beg you for his life?

You're courting ruin, consider...

Even so, revenge is my only care.

I know the hatred that I will face.

I'll dismiss Hermione,

and set on her brow, instead of my crown,

everlasting shame.

In this speech free of artifice,

at last you give yourself justice...

I'll place her garland on your head.

This is no offer to despise, my lady:

I tell you,

you must rule or die.

My heart, after a year's ingratitude,

will not suffer such incertitude.

So many days of fear, threats and hate:

I'll die if I lose you,

I'll die if I must wait.

Think of it; I'll return

to lead you to the temple where your son awaits me.

You'll see me, submissive or furious,

crown you, or kill him before your eyes.

I told you that, in spite of Greece,

you'd be mistress of your fate.

See the effect your speech has!

Now all I can do is condemn my son.

What are you doing?

Nothing special.

You taking me home?

Let's go.

I don't like the way you smoke.

Why?

You smoke like a man.

What's the difference?

It's in the haircut...

the difference.

You look like a little monkey now.

You should go through the looking glass,

see what's going on there.

What for?

I got the buttons wrong.

Nothing. I think it would be good for you.

Well...

I'm not bored, but my mum's waiting.

Goodbye.

I'm sorry.

See you tomorrow.

We'll never leave each other.

You'll stay with me always.

Danger comes from the outside.

We'll stay like this.

Against each other.

Very tightly.

We'll never go out.

I'll stock up.

Milk.

You like milk.

Coca Cola.

Whisky, if you wish. And we lock ourselves in.

I want to breathe through your skin...

I breathe through your skin.

Stay with me.

Don't look elsewhere.

Don't turn around.

Why turn your back to me?

You're not there. You're far away.

No one...

No one will love you like I do.

I don't care that you don't care.

You won't find anything elsewhere.

You'll forever look for me.

So, stay with me.

Turn around. Hug me.

Don't look outside.

Then,

the light has gone out.

We are alone.

Don't be scared.

Please, don't be scared.

I went so far away on my own.

Let's go there later.

I'll protect you.

Thursday the 1st

Yes,

reunited with a loyal friend,

my fortune now has a new face.

Its wrath already seems milder,

since it makes us meet here together.

Who thought a shore fatal to my days

would present Pylades to Orestes' gaze?

After six months, you lost at sea,

at Pyrrhus' court you return to me?

Let them love, Phoenix! Let her go.

Let them go back to Sparta now.

Our ports are open to them both.

What constraint and worry I'd be spared!

I'll share my heart another time: Andromache is here.

Do you seek me, my lady? Is such a sweet hope allowed me?

I'm on my way to where my son is kept.

This love, paid with ingratitude,

makes his presence here so cruel.

What shame for me, for him what victory

to see my woe echo his ennui!

Is that, he'll say, the proud Hermione?

She scorned me; now she's rejected.

She who so valued her heart

now learns to suffer and to part?

Oh gods!

I'll rob you of that fateful pleasure,

Orestes alone will end this matter.

By me your enemies will be killed,

you'll praise my care, if you will.

Go.

Make me the mistress of your life,

ready all the ships for our flight.

You're courting ruin. Consider...

Even so, revenge is my only care.

Must I forget because he forgot too?

Forget Hector lacking burial,

dragged around the city wall?

Forget his father nearing death,

bloodying the altar he embraced?

Think,

think, Cephisa,

of that cruel night, casting on all an eternal light.

Praise the gods, I can glimpse...

What streams of blood flow around me!

What?

Pyrrhus, do we meet once more?

With rehearsals so close to opening night...

- We're not ready. - ... not everything is set.

Yes, it is, but not quite...

That thing about the ending

is something typical.

It's the...

the discrepancy, say, between words...

and the physical act.

Words still have high standards...

language forbids breaking away from given rules,

while bodies collapse completely,

they slouch.

Thinking has collapsed inside a body

that keeps talking.

Even if it's through Pylades, as he says:

"He feels no more," when Orestes's already raving mad,

puking all over...

He only talks about feeling.

It's the gap between language and physical act.

But we're not there yet.

We would need a month.

What about the set? This armchair...

It's kind of a symbol of conversation.

And that's a big symbol,

in the middle of this modern thing.

That object takes on a...

it's no longer...

- a literary one. - And it will stay like that?

We'll rearrange it.

There are these gongs...

What a chatterbox.

This is what's going on.

Yes, we need to do it.

Can you stop and...

Well, we need to do it, so...

I'd need one more month.

- Really? - Yes, it would really take a month.

How long did you plan for?

They gave us three weeks. It's been three weeks.

Well... Let's...

- You're going home? - Yes.

Friends, time presses. Use the moments his fit grants us.

Save him. Our effort is worthless

if his nightmares surface.

Sébastien? It's Françoise.

Claire is gone. She asked me to tell you.

- Gone where? - She didn't say.

How was she? Was she OK?

Yes.

She said I shouldn't worry.

That you shouldn't worry.

She'll write later.

Not now. She needs rest.

- Thanks. - You're welcome.

See you later.

You spoke to him?

You didn't tell him?

No.

About Vesoul?

Don't worry, I didn't say a word.

What did he say?

What do you want him to say?

Yes, nothing, you're right.

You won't change your mind?

No, I won't.

I feel like I'll wake up with a start.

You understand?

You think I'm crazy?

Not at all.

Walking me to my train?

- Of course. Shall we? - Yes, let's go.

This film has been reconstructed using:

8 reels of an incomplete fine grain dupe positive

14 reels of incomplete fine grain dupe negative

The incomplete 16mm rushes

Véronique Manniez-Rivette and Les films du Veilleur warmly thank,

for their help in the preservation and restoration of this film:

Translation by B. Eisenschitz and J.V. Robert