All language subtitles for ENG Episode 3

EPISODE 3

FROM FREDERIQUE TO SARAH

- It would be great.
- I'm not sure I have anything to say...

Pierre talks about it now and then.

I'm not very... It's over.

Are you sure?

Fine, second floor.

What shall we do?

Dear Professor,
permit an unlucky young man,

who can neither speak nor hear,

to beg the privilege
of reading the answers

to some questions from your lips.

Right, sit down.

I've received your letter.

You ask me some awkward questions.

If you would like to be more precise,

there's always the possibility
to write your questions down.

I've got some paper here.

You're a student?

Never mind.

You ask me who are the Thirteen
in Balzac's work.

You have read
the History of the Thirteen'?

So you know that the Thirteen
are the heroes of three narratives.

They aren't exactly novels,
they're shorter,

three short stories by Balzac:

Ferragus, The Duchess of Langeais
and The Girl with Golden Eyes.

These thirteen appear very seldom
throughout his work.

In my view, the interest of these stories
has little to do with the Thirteen.

I very much like
the conspiracies in Balzac:

plots, secret societies, occults etc.

For me that is the heart
of Balzac's work.

It's the thing I like best,

but this aspect of conspiracy
and organisations

is paradoxically lacking in
the History of the Thirteen.

You find only furtive, passing acts.

At least in my opinion.

Yes, what is their role?

Well, their role is rather...

Certainly in
The Girl with the Golden Eyes,

a little less, or rather more
in The Duchess of Langeais,

even more in Ferragus -

the role of the deus ex machina.

They intervene...

...to tie up the plot,
to bring about a conclusion.

But the organisation as such

is described only
in the preface to the works.

It's in the preface...

...which Balzac grouped as
the History of the Thirteen.

Their effect on the whole
of The Human Comedy

then becomes interesting.

Ultimately the answer is negative.

Balzac abandoned the Thirteen.

Members of the Thirteen reappear,

but there are no further allusions
to their membership.

For example one of Balzac's heroes

who later went on to have
quite an important career

is De Marsay.

De Marsay, as you know,
goes on to become Prime Minister.

And moreover he dies -
a rare thing in Balzac's work -

during the course of
The Human Comedy.

The History of the Thirteen
is located at the end of the Empire

and the beginning of the Restoration.

Having formed a ministry,
he became Prime Minister.

One of his ministers was,
if I'm not mistaken, Rastignac.

De Marsay's death occurs in one of
Balzac's most interesting political works.

It occurs in the scenes
from political life in The Deputy of Arcis.

Have you read The Deputy of Arcis?

You've read Balzac's entire work!

I don't see how I can help you.

All that we know of Balzac's work

is provided,
first and foremost, by Balzac.

Your second question is more difficult.

There I think we don't really know.

What real events might have led Balzac
to invent this secret society?

Because secret societies exist.

They were around in Balzac's time,
they exist now, they always have done.

It's certain
that he was inspired by reality,

as he was in his other works.

He often alludes
to certain societies in particular,

for example "Le Carbonari",

or "Asylum Song",
which is a philanthropic society,

assisting political refugees
in the United States.

But did there ever exist
an occult society

like the Thirteen,

one designed to serve
individual interests

and not some general interest?

A society that lacked,
to put it in modern terms,

an ideological basis,

which, ultimately, existed purely

for the selfish advantage
of the Thirteen?

Can such a society exist?
Are there any such examples in history?

It's not for me to say.

Because even criminal associations
have some idea behind them -

an idea or a necessity.

There is a passage I wanted to read.
I don't know if you've read it.

The Seamy Side of History.

You haven't?

It fails to live up to its title.

It does not have much to say
about contemporary history.

It is interesting for other reasons.

It is far more interesting

in relation to the question
you have asked me.

Not that this is a continuation
of the History of the Thirteen.

To use an expression of Balzac's...

it is the other side
of the History of the Thirteen.

This association does the opposite.

Whereas the Thirteen
is designed for wrongdoing,

and for the satisfaction of the
personal interests of its members,

this association is...

To use Balzac's precise description,

"The aim of the characters is to replace

"the permanent conspiracy for evil

"with a kind of conspiracy for good."

And to do good
the characters employ

conspiratorial tactics not dissimilar
to those of the Thirteen.

The way that the Thirteen act is

easier to understand from this story

where it is described in minute detail,
than in Balzac's Thirteen.

But I wanted to read you a passage
where Balzac says...

how greatly he values associations.

"The association,"
to quote Balzac,

"one of the greatest social forces
which made medieval Europe

"is based on feelings which,

"since 1792,
no longer exist in France

"where the individual
has triumphed over the state."

Alliances, associations and unions
were very dear to Balzac's heart.

Was he influenced by his father,
a member of the Freemasons?

Was he influenced
by the climate of conspiracy

that existed in France
and worldwide

in the late Empire and early Restoration,

notably through the Carbonari,

the Carbonari
who are descended

from labour associations,
as is Freemasonry.

So, your question...

I can answer your question as follows.

In the History of the Thirteen
we have an association

that is still a little too similar
to the bandit gangs

present in fashionable novels
and in the early novels of Balzac.

Whereas gradually,
as his work develops,

we find associations

which are not designed to serve
individuals, but general interests.

And which correspond
to existing associations.

For, ultimately,

history shows that there are
a great many associations of that kind.

We've moved a long way
from the History of the Thirteen.

I think I have answered
your questions.

If you want to ask me another question,
you can write it down.

I'll find you a pencil.
Here, write it down.

Oh, that question!

How do you expect me
to answer such a question?

"Are you aware of another association
of the Thirteen in the present day?"

Present is spelt with two Es.

Your poor grasp of reality
is matched only by your poor spelling.

I'm sorry.

Well, in the present...

I don't know.
Not to my knowledge, anyway.

Associations certainly do exist,

from sporting associations

to charitable associations.

And then you've also got
the political parties.

Ultimately they are perhaps
the most important.

Or the emanation of the government
and its police...

So, that's all I can tell you,

but an association like that
of the Thirteen...

I think it would be a very odd thing
for something like that to exist.

Perhaps you have got wind
of something of that kind?

Why have you asked me this question?

Write it down!

I don't know
if I can read your writing.

"Several mysterious messages

"have set me on this path."

I think it's time for us to part our ways.

Read Balzac,
that's the best thing you can do.

It's my publisher,
Rue Coquill�re.

Talking of which,

there's a wonderful passage
in "Ferragus".

The story of some people standing
under a porch. It's really marvellous.

I'm going to go there.

Excuse me.

- Hello.
- What can I get you?

I'd like a large glass of cold milk.

No. A little scotch for the young lady.

No, I'd like
a large glass of cold milk, please.

And a little scotch with that.

And a large one for me.

- Fine.
- So, two scotches and a milk.

Do as the gentleman says.

So, you drink milk, do you?

Yes, milk is very good.

Better than whisky
at nine o'clock in the morning.

- Nine o'clock?
- Yes, at nine o'clock.

There are no set times for drinking.

Depends who you're talking to.

So, we're out walking alone, are we?

We aren't out walking, we're in a cafe.

You know what I mean.

You look like a little gypsy girl.

Why do you say that?

- Your hair, your shawl, all of it...
- Maybe I am.

That's interesting.

Why don't you have your drink
at my table?

No, I don't want to.

- That's not very nice.
- Yes it is.

- Come on, give it a try.
- No.

I'll drink the drink you've given me.

We'll drink at our own table
and tell each other what we think of it.

That's no fun.

Will you read my palm?

I used to do palm readings.

I've forgotten how.

A little scotch
and you can perform wonders.

Scotch and milk is enough
to make you forget everything.

Let's see. Come on, try.

Why not?

- Show me.
- My whole life is here.

- This isn't the hand of a working man.
- No, I must admit.

You live in a very, very big house
with lots of people around you.

Yes.

There are lots of famous
people around you.

This is interesting.

Do you ride horses?

I sometimes put money on a horse.

Your heart...

What's the matter with my heart?

I'd rather not say. I could be wrong.

That's a miserable thing to say.

I don't know if it's already happened.

There's something pretty horrible.

You've got the gift, haven't you?

- Sorry.
- That's OK.

She's a bitch.

She dumped me yesterday.

How disgraceful. Why?

There was another guy
she fancied more. That was it.

- That's life.
- Yes.

So that's why...

- I like a drink anyway.
- Really?

But a bit more just now.

- I'm going to make you a proposition.
- To me? Why?

Yes, to do with her.

- Because I'd like a bit of revenge.
- Quite right too.

Nothing too cruel,
just a little lesson.

- There's a party this evening...
- Oh, yes?

We were supposed
to be going together.

She'll be with someone else,
so I have to go with someone too.

- To compensate.
- Sure.

And that someone is...

It could be you.

That might be fun, but...

I think there's a problem, because
we move in the same kind of circles.

I left home a month ago
and my father mustn't find me.

But I've got nothing to wear.

That's not a problem.

Perhaps you could give me
a bit of money so...

- Of course.
- OK.

We can go and buy you a little dress.
I'll take you.

- What do you say?
- Yes.

We'd better pay, if we're leaving.

- You can call the...
- I'll just finish my milk. I'm thirsty.

All right. We can go after that.

I can't keep it up.

Just pick it up again discreetly.

- There's a break.
- No, there isn't.

Let's see.

The others will be carrying on.

So you won't hear it.
Can you do it again?

- To practise that?
- Yes.

- Which one?
- The same again.

- That was great.
- Really great.

Pass me a cigarette.

Don't strain yourself!

- I'm so bored.
- You're not the only one, sweetheart.

I'm bored. This has been going on
such a long time.

I'm sick of it.

Three thousand bloody years!

- I'm bored!
- You're not the only one.

Then do something to keep
me entertained, you silly cow.

Not if you're going to be like that.

- Dance for me.
- Don't wear yourself out.

You dance, then, sweetie.
You're the only one that's nice to me.

- In this heat?
- Anyway I'm sick of all that.

I'm so fucking bored!

I'm sick of this.
It's been going on too long.

I'd like to see you take my place.

Well, in a way I am in the same boat.

- Do you think I'm doing this for fun?
- Obviously not.

You'd be incapable
of doing anything for fun.

And why are you here then, buster?

- Huh? Why are you here?
- To piss you off.

You're doing a good job.

Go on, dance a bit, Mimi.

Go on, Mimi,
do your bear dance.

I'm so fucking bored.

Very nice, very seductive.

Don't get overexcited.
They'll be here soon.

- Now is not the time.
- You're a killjoy, you are.

Go and wait for them, will you?

Just take it easy.

Dance a bit more, Mimi.

You should make him look decent.
They'll be here soon.

~ Who?
_ The Pope!

Not again! Shit!
I don't want to see anyone.

I'm sick of all these people
coming to wind me up.

I hope there'll be
a good-looking one today.

That would make a nice change.

There. What did I tell you?

Come on, hurry up!

Quick! Hurry up!

Take your drug.

Give me the cigarette!

Here you are.

Right, are you ready?

Wait.

- Like that?
- No, wait.

All right?
Are you in position?

All right, all right.
Just a second.

- Right. OK?
- Go on.

All right, I'm going.

There.

Madam, sir...

You can come in now.
The master is ready for you.

- Please don't make any noise.
- Is he all right?

He hasn't changed.

Go on, sit down there.

You can sit there.

Everybody OK?

He's extremely tired.
I would ask you to speak very quietly.

You may each ask five questions...

After what he did to me.

Five questions. He's very tired.

Who would like to ask first?

- Mum, is that my dad?
- Yes.

Please...

You may speak freely.

That's not the problem.

Who would like to ask
the first question?

How about the girl?

I don't want her to be disappointed.

What's that he's got?

It's a wound.

He's been badly tortured,
badly damaged.

Earthly divinity!

When I was light!

Sources of rivers!

He's sitting on my ball!

Sir, please, this is unacceptable.

What's unacceptable
about my daughter?

Sit down!

Oh, Earth!

Mother of all creatures.

See the tortures I have suffered

for millions of years.

Ask him questions.

Mum, I want to go.

Stay where you are.
You wanted to see him.

But Mum, I'm scared.

Stay where you are.
Have a good look at him.

That way you won't
be asking to see him again.

- Please, sir. This is unacceptable.
- Don't touch me!

- Stay back.
- Don't touch me!

- You're crazy, my girl!
- Calm down, sir.

- Don't touch me!
- Calm down, sir.

Madam, can we see his face for a bit?

My little girl hasn't come
all this way for nothing.

- I'm only asking you stay calm.
- He is my dad.

I'm asking you to stay calm.

We are calm.

- Pay attention.
- She must see his face.

Not for too long
because the light hurts his eyes.

- Let the girl see.
- Yes, don't worry.

- Not too close.
- Don't touch me.

- Not so close, please!
- Mad.

Hysterical.

Piss off!

He hasn't changed.

- You'll have to force us to leave.
- You'll have to shut up.

- Do you want to go closer?
- Go closer. Go and touch him.

- I'm scared.
- No, you can touch him.

Go and touch him.

Do you want to ask the master
a question, madam?

I asked him everything
when he was around.

- Is he my dad?
- Yes.

Yes, he's the father of us all, my dear.

But particularly her.

He's ugly, isn't he?

What do you want?

I don't understand.

- Well?
- Chewing gum.

He's in pain.

He's in pain. He's in pain.

He's on the verge...

He's on the verge of ecstasy.

I feel him coming.

I'm sure.

I'm absolutely sure.

Would you please ask some questions?

He cannot tolerate your visit
for much longer.

Hurry up.
He's reaching the limits.

- Don't exaggerate.
- Why is he sick?

- He's a titan.
- That's enough now.

- You must leave.
- Why is my dad sick?

- Do you want to make a scene, sir?
- I don't believe it.

I don't believe it.

- Stop, please.
- Stop what?

- This is awful. Come on, let's go.
- No.

My attitude is profoundly similar
to that of the man lying there.

Do you want to touch him?
Go on.

- Want a candy from Prometheus?
- Why is he sick?

- Take the candy.
- Why is he sick?

I'll explain at home.

Come on.
What do you want?

I'm sorry, but this is not
what you're here for.

- The master is ready to respond.
- "The master". Don't give me that crap.

I knew him long before you did.

Keep your distance, sir.
Keep your distance.

- For the last time, don't touch me.
- Keep your distance.

- She made a drawing for her father.
- A drawing.

I'll show it to him.

- Sit down.
- I'll show it to him.

It's my drawing!
It's my drawing!

"...blind hopes".

- I said...
- Blind hope. Think about it.

Come on.

Let her show him her drawing.
He is her father after all.

- Madam, please!
- He's not going to die. We all know that.

- Go on, show him your drawing.
- It's chaos here today.

- Here.
- Don't tear it.

- He's not going to tear it.
- It's for him.

Let him see it.

Go and sit down, please.

Go and sit down, please.

Back then he used to rape us.
Now we can't even touch him.

Calm down, madam.
Calm down.

It's been a very long time
since he raped anyone.

- Yes, I see.
- Then calm down.

- Give me the drawing.
- This is for you.

- It's my ball.
- Thank you.

- He's my father!
- Yes, but...

Dad, it's my ball.

- Your ball.
- Yes, he is your father.

Please sir, don't go so close.

Please, sir.

Please, sir.
That's enough now!

Please!

That's unheard of.

Please leave now, sir!

I was fine there.

- What is this?
- You're mad! He's mad!

- Move, will you?
- Crazy woman.

- Don't touch my dad.
- That's enough, sir.

I've never seen such a scene!

Calm down, guardian.

"Peace, peace among men."

When you say...

When you say...

When you say, "Heaven, Father..."

When you say, "Heaven, Father,"
and all that...

We can ask him questions, can't we?

My daughter came here
to ask him questions,

not for this chaos!

- How does it feel at this moment?
- Don't touch him.

Don't touch him! Don't touch him!

- Dad...
- I want to go. I've had enough.

- Dad...
- I feel sick.

Calm down, will you?

- This is a scandal!
- My little Prometheus...

I've never seen such a thing.
Where's his cloth?

"I see the enemy of my father approach.

"I honour my father and I love you.

"I love you. Prometheus, I love you.

"You are to my spirit
what it is to itself.

"From the beginning your words
have been to me a heavenly light.

"Always it is as if
my soul speaks to itself..."

I knew him long before you did.

Don't touch him.

Why did you say
you made men fall, Dad?

Listen to your daughter.

Look at him.

Go on, look at him.

- Stop it.
- You bunch of ignoramuses.

Get out now.

Enough! Come on.

- For God's sake!
- I've never seen such a thing.

Don't touch me.

- Leave the girl alone.
- I want my dad!

Yes... your dad will be back later.
He's tired.

- Because he's sick.
- I'm tired.

Your father is tired.

- I want to take him with me.
- You can't, he's too tired.

Come on, let's play ball.

Let's play ball. Let's play ball.

Yes, guardian, go and play ball.

He's had enough.
He can't stand any more.

Tell them to go away.
Tell them to go.

Tell them to go.

- You'd love us to go.
- You always have to cause a scene.

- I never asked you for a child.
- And I never asked you to come.

I'm introducing you to your daughter
and you don't even want to see her.

I was happy to give you a child,
but you don't have to cause a scene.

- You don't realise...
- You think only of yourself.

You'd rather people didn't know.
Well, I'm going to tell the whole world.

Will you shut up?

You'll make me lose my job
if people see me like this.

Do what you like,
but shut your face!

No, no, no.

Get her out of here.

Get her out.

Get lost.

Get lost or I'll slap you.

You've got a child!

You haven't even looked at her.

- Just look at her.
- Your daughter has had a fall.

Your daughter has just had a fall.

- You'd like never to see her.
- Your daughter's had a fall.

You like it if no one knew.

- You said you'd wait till next year.
- I feed your daughter.

You have no right to say that.

Why don't you look
after her sometimes?

Right.

He'll give it some thought.

You're such a bastard.
You're a total bastard.

- Get rid of her.
- That's enough.

He's a bastard.
I'll send your daughter to stay with you.

- Then you'll see what it's like.
- All right...

If she starves
you'll be in trouble.

- Get lost and don't come back.
- Shut up, you fat pig.

You shut up.

- Come on. Your daughter's waiting.
- Idiot.

Your daughter is waiting for you.

- You're so good to me.
- Come, now.

There, you're going to go
and then tomorrow...

What's the point in coming only
to be chased away by bitches like you?

She's an idiot as well as a whore.

Come on.

Good bye, sweetheart.

Goodbye, madam.

As for your brown rice,
eat it yourself.

I'm going to make her some spinach.

Go on.

Let's stop there.

It's like a judo class!

I told you so.

Shall we do another one
or shall we analyse this one?

He needs to rest.

Otherwise you'll suffer one day.

You always have to keep yourself
under control in an exercise like that.

- Here's the problem with violence.
- It's all-out war!

She was jumping on you.

We shouldn't start again,
I'll forget everything.

Shall we go on now,
or shall we analyse it?

There's plenty to analyse!

I think...

Some things just weren't respected.

We'd said each one would
ask questions afterwards.

I was afraid it would all sink into...

everyone talking at once, very fast...

You can't follow and there are
five or six things going on at once.

It would be more interesting
if everyone focused

and if there was a coherent order.

I can't judge from the outside,
but I think it was pretty muddled.

They were all challenging Prometheus.

He came in
with his own kind of challenge.

I hadn't realised that
I wasn't allowed to go near him.

- I thought we could.
- No!

- I thought we had the right to...
- We can't start a war straight away.

We...

We originally said
we'd be very respectful.

You'd travelled a very long way
and it lead to this thing.

We didn't follow enough.

The initial idea was transformed.

It turned into something
completely different.

Perhaps Beatrice should have
told us to start with...

We didn't understand it.

You were too quick to retaliate.
You accused him suddenly.

I said ask your question,
that he was tired,

that you shouldn't retaliate,
but you were like furies.

So I had to intervene.

You always have to take account of
what the other person gives you.

I was very defensive.
I had to protect him, and I...

There's the initial situation,
which you broke down a bit quickly.

In other words, I felt straight away
as far as I could tell

that everything got very confused
very quickly.

- Because you...
- The guardian should have been a link

between the visitors and Prometheus.

But if no one respects
what the guardian says...

If someone says something,
always take it into consideration.

You went charging in.

When the guardian says,
"Don't go near him..."

You haven't come here
to attack Prometheus.

You've come to see something
worthy of respect and veneration.

I was angry with Prometheus...

Yes, one person was angry.

And I was in despair,
really upset,

and this clown in the middle here...

I couldn't touch him
when I wanted to hear him talk.

You just weren't supposed
to go near him.

But I'd come precisely to touch him.

You mustn't go beyond
what the other person says.

Maybe I should have responded
to his character too.

Maybe I should have said...

I introduced you,
I told you to protect him.

You could have said...

Someone was trying to touch him.
I said not to do it.

Yes, but maybe
that changed things for you?

In the confusion someone touched him,
which was sacrilegious.

Once that's happened a new
situation can perhaps be grafted on...

What a terrible, bourgeois god.

I thought about doing something
with what you were bringing in,

but there was so much piling up
on top of him.

My role was still to...

If there's only been one
it might have been possible, but three!

Yes, that's it. There are times
when you have to sacrifice yourself,

get into what they're doing,

but there has to be a kind of connivance
between us not to mess things up.

It's much better
when a situation gets set up

and everyone respects it,
even if it gets modified.

It's not a question of modifying.

We don't need to create confusion.

Fr�d�rique, Fr�d�rique

In her little shop

Match seller

In her little barrow

Goes into town

Like a fool

Her hat twisted

Like a fish-tail

Hands in her pockets

Like a Spaniard

You win

You lose

You be the messenger. Go on.

BAKERY

THE CORNER OF CHANCE

Cigarette.

Take your places, please.

Don't be afraid, come in.

Ladies and gentlemen,

you have the great honour
to see the goddess Prometheus

who will do you the great honour
of receiving you.

You should feel blessed
that she is willing to receive people.

These are the rules:

You may ask three questions,

none lasting longer than a minute,

answer included.

You must observe extreme moderation

showing all due consideration.

The great goddess is very sensitive

and cannot tolerate the slightest upset.

Before your first question,

spend around half a minute
composing yourselves.

I would like to know...

Half a minute's silence, please.

Oh goddess, look favourably
on our requests,

and answer to all that...

...our humble visitors will ask.

First question, please.

I'd like to have a private conversation
with Prometheus.

What about?

Serious personal problems

brought up by...

Sadly, madam, today is not
a day for private conversations.

For that it is necessary
to put in a special request

- at least two months in advance.
- It can't wait.

I'm sorry but for now,
this is a public hearing.

Unless the goddess
consents to respond

to your request,
and yours alone.

Yes.

The goddess agrees to hear
your question.

Please express it clearly.

- In front of these people?
- That is the rule.

Very well.

- I'd like to know...
- I must ask you to speak a little louder,

the goddess has a slight
hearing difficulty.

I should like to know

what political thinking
underpinned your action?

No politics!

The goddess seems to look down
on your question,

regarding it as - how can I put it-
rather basic.

Do you have anything else to ask?

I'm surprised at your response.

Are you in favour of violence?

Oh yes.

Violence is a political act.

No politics here.

The goddess says no politics, madam.
You are confined to two questions.

But all that you did...

Madam, don't excite yourself.

We are in a highly mystical presence,

and we cannot tolerate aggression.

Who would you see as
your spiritual successor?

Prometheus, obviously.

Very well.

I see I have been deceived.

The door is behind you, madam.

Forgive me
if I don't accompany you.

What a masquerade!

And you spoke of freedom,
you spoke of bringing fire to mankind,

in other words knowledge,
and you're telling me no politics...

It's terrible! It's a masquerade!

Bastards! imperialists!

Have pity on this lost soul who has
little idea what she is talking about.

Madam, please.

I shall ask you to compose yourself
before asking your question.

Goddess, be sympathetic
in your response

and be so good as
to give due consideration

to the questions
this woman is about to ask.

It's very simple.

I've walked many kilometres.

I set off from my home country
two days ago.

Yes, madam, she's listening.

They told me the goddess
had done a great deal for mankind,

saved many men.

Where I live there's a drought, and...

all my cows, all my pigs
have nothing to drink,

so I would like the goddess
to make water come back to my land.

The rain is already falling.

I've brought you a small image,
so you could kiss it.

- I shall transfer it to the goddess.
- She is too kind.

Goddess, will you accept this image?
Are you willing to kiss it?

Well?

Gently.

Thank you, goddess.
So can I have water back home?

I said the rain is already falling.

It means, that it's raining.

Do you have another question?

Er... no, no, no. No.

In that case madam,
I would ask you either to withdraw,

or if there is anything else
you would like to express,

since you have been so kind
and have only asked one question.

I'm very touched.

- I think the goddess is very beautiful.
- Isn't she?

As you see, the goddess is
not insensible to compliments.

Madam, if you have nothing more to say,
I would ask you to withdraw.

I shall not accompany you,
please forgive me.

It's your turn, madam.

Come closer, as the goddess
is a little deaf in one ear.

I haven't come for me,
it's for a friend.

Cigarette!

I've brought you some.

They're butts,
but they've got filters.

Er... yes, madam.

Is the goddess prepared to accept
madam's cigarette butt?

Please try to concentrate
and to answer, please, Goddess.

The goddess seems well disposed.

Here is the offering.

Is there anything else?

Please address the goddess.

I've come on behalf of a friend...

not a friend,
I just met him in the street.

Please speak a little louder, madam.

Well?

He said...

This guy is doing his military service.

And... he's got to leave.

He was on leave
when I met him in the street.

And he asked me what he should do
so he didn't have to go back,

so I said, "You have to speak
to Prometheus,

"you have to speak to the beautiful lady."

So I said to him,
"I don't mind doing that for you."

We're very touched by your request,

but please address her
with something precise.

I could address this to her.

Yes, I think the goddess will be pleased.

Will you accept this bunch of flowers?

Yes, the goddess seems to accept it.

Do you have another question?

That's the only one.

Then the goddess may
perhaps deign to reply to you.

Can she help this young man?

- To do what?
- She asks, "To do what?"

Young men must go to war.

You have the goddess's answer, madam:
"Young men must go to war."

I was hoping for better than that.

The ways of the goddess
are impenetrable, madam.

What can I say to my friend?

What can this lady say to her friend?

Let him come himself.

"Let him come himself."
Are you satisfied?

I'll try.

You are reasonable,
and follow the right path.

I must ask you to withdraw. The goddess
is showing signs of tiredness.

Thank you, beautiful lady.

I shall see you out.

Down with the goddess!

Bastards! Scum!

You'll all die like dogs!

You flunkey! You flunkey!

Bastards! Bitch!

Bitch! Bastards!

Money for the rich,
wretchedness for the poor!

Bastards! Bastards!

Bastards...

Good God!

Talk about fascism.

You'll never say that again.

Never again.

Bravo.

That was really sweet.

Better, wasn't it?

This butt is disgusting.

We all listened to each other.

How did it seem to you?

I'd really like to be Louis XIV!

- To be who?
- Louis XIV.

I've asked.

The international organisation
should reply in a fortnight.

They don't know
how to disperse tear gas,

so they use fog machines used in films
or agricultural machines,

and put different chemicals in them,
or other products.

They said it's not difficult to do.

Have you got far enough with it now?

Yes, but I really have
to go back to Rennes.

- Really? You have to go back there?
- Yes, it's got to be done,

to show that
behind the government's satisfaction,

there are still people who won't swallow
the crap they're being fed.

I think it should be more orientated

round the critical state
these people are in

and what they can do,
not just in terms of organisation,

but in terms of life in general.

When you read the article...

in the interviews,
they deal with that problem, and...

I'm wondering whether
it's not more important to see

whether we've got enough money
to get the first edition out.

We need enough to get
a second edition out

in case the first one goes wrong.

- We've got money.
- No, we've got one million.

- And then?
- It isn't enough!

And we've hardly got any subscriptions.

We have got some.

Not enough for two editions.

Yes, but L�onard has found a printer

who will give good credit terms
so we won't have to pay for six months.

But what will we do
if we've got no money?

They'll close the shop.

Anyway, we can always do one edition.

You can't do anything
without taking a risk,

and if we believe in it, it will work.

- Obviously.
- I'm going to leave you to it because...

You haven't got another grandmother
who could slip you another million?

Really?

- Really?
- Yes, but where is she?

- In good health?
- Yes.

If they're in good health,
I don't see how we can get it.

She'll donate it.

We've got to be practical.

Precisely. Our articles should be
practical, educational, and technical.

A newspaper must be
for the public good.

Fine, but we need
to do the sums first.

We've been talking for two hours

and we don't know if we've got enough
to do this newspaper.

I say we have enough.

No one's being paid.

We just need to pay the printers.

There's the paper and the photos.

We'll probably blow the million
on the first edition.

But...

It'll bring money in...

I'm not interested in doing one edition.
We have to do several.

So we need to plan for...

We need to plan
a good first edition, that's all.

We have to plan a good first edition,
and a second edition...

That's obvious.

We have the material,
but not the money, so...

Listen, if we don't take any risks,
we'll never do anything.

I'm going to ask L�onard.

L�onard...

You're never there when we're talking,
it's unbelievable...

They've been talking for two hours.
They can never agree.

- But now we have to make a decision.
- A decision about what?

Whether we're going to do
this paper or not.

But we already know that.

DO YOU KNOW THE THIRTEEN?

What's going on here?

- We need to restart the discussion.
- Where's Leonard? Leonard!

Hi, Marlon.

Do you want a drink?

So you're out of prison?
Must have been all right in there.

Oh, sir is a regular!

So, business must be good for you.

Nice machine!
Will you take me for a ride?

With the redskin too!

Is he yours?

Oh!

Mister courageous!

Listen.

Listen, this is serious.

No more messing around.
I need money.

I need money, fast.

- You need cash?
- Yes.

But there's money everywhere!

- I know there's money everywhere.
- So take it.

- A quick scam.
- You'll find some.

Want some money?
Want me to show you?

You find a taxi driver, and you say,
"Can you take me there, there, there."

- Look there. What do you see? A till.
- Stop it!

When the boss isn't there,
you go and get it.

- Just take it.
- Just like that?

- Silly girl.
- What's wrong with you?

Or you find a little old lady
coming back from the market.

You help her up the stairs and Wham!

You get it?

It's not hard.
I do it all day long.

OK, but then?

You're very jumpy, Marlon.

Wait, I've got something.

Stop it!

You understand?
I'm not playing around this time.

It's crawling with sluts
like you round here.

You're not the first.

Who do you think you are?

You want to get busted up
if I understand.

That guy!

Waiter.

A scotch.

That guy's crazy.

Tell me, Mister...

Hello?

Hello, is that Mum?

Hello, Mum. No.

I'm fine.

No, no really, I don't need anything.
Everything's fine.

I just wanted to talk to Dad, please.
Can you put him on?

Fine, listen.

Yes, I love you, Mum.

Put Dad on please.

I love you, everything's fine.
Put Dad on...

Hello Dad?
I need you to do me a favour.

I need a press card -
do you still know someone at Paris-Jour?

Can you tell him
to give me a press card?

You can? I'll go round there tomorrow
and ask him for the press card.

You'll do that for me?
Thanks...

Goodbye, Dad.

With all the force that implies...

...and the resonance I feel
more strongly every time...

It's got to a point where...

...it wouldn't take much...

- ...for everything to explode.
- Take off, I was going to say.

I think, a bit like you, we've already
talked about it quite a lot,

with the group too.
In fact, I think they...

They also feel that need.

I think my idea...

...of seeing Sarah, or Pierre...

...or Etienne, or anyone,
an outside eye...

We have to think about that,

because I think the choice
of someone like that

coming into the group,

which is pretty solid now...

It's important to think
about how the group might react

to someone from outside.

Don't you think?

Yes.

Don't you like the idea of Sarah?

Not much, no...

No, Sarah, Pierre,
I think we need to think about it.

Pierre maybe.

Pierre might be better,
he'd be more... objective.

He'd have to have a bit
of time spare to give us.

I think we need to think about it...

Every time he's been very constructive.

It's always been...
everything has always been...

...very intelligent.

Yes.

You're right.

But I still think it's important

to give it plenty of thought,

so that...

It would be a problem
if we got it wrong.

We're at the point where...
I think it's all...

not fragile, but it's important.

- Right, I'm going home, I'm tired.
- So soon?

I'm a bit tired. We're doing
some exhausting days at the moment.

- Want me to walk with you?
- Definitely not.

- You won't stay a bit longer?
- No, I'm going home.

I'm going home, and we can
talk about this again tomorrow, OK?

OK.

See you tomorrow?
Sleep well.

Good night.

- Will I see you tomorrow?
- No, I've got loads of stuff to do.

I'll give you a ring tomorrow evening.

OK, I think I should be in.

Sleep well.

Hello?

I'd like to speak to Sarah, please.

Oh, it's you! It's Thomas.

How's it going?

Fine.

Listen Sarah,

I'd like to talk to you,
have you got a moment?

Yes. I'm putting on
Aeschylus's Prometheus.

I started working on it two months ago.

Yes. It's an old project.

We've got to a point where
I don't really know what to think.

I'd really like to talk to you a bit.

Would you mind that?

No, listen, I...

Are you alone in the Obade?

Yes.

I'd rather I came to you.
Would you mind?

Yes, we could have a good talk.

I can come tomorrow.
Yes, I've got a day off.

No, I'd like to.

Yes, how are you?

Fine, great, so I'll be there tomorrow.

OK.

Yes.
No, that's not a problem.

I'm looking forward to seeing you.

OK, goodbye.

Goodbye, see you tomorrow.

Up there in my little room

My little room is up there

I do my housework

I sit at my piano

Do, re, mi, fa, so, la, si, do

Good journey?

Your problem with the second book
stems from the fact...

that the first one is autobiographical.

You need to wait ten years
before writing the second one.

You're right.

You can't always do things to order.

You don't often meet
someone as inspiring as Pierre.

- Don't you think?
- When I read it I could feel it...

Underneath all the time, it was him.

Yes, yes. I feel emptied.

I've tried but I can't do it.

Pure fiction.

- It's fantasy.
- Have you started on the second one?

I've started 20 times,
but I never get past the middle.

I get such weird ideas.

But the sad thing is that you wrote it
at the very end with Pierre.

Have you seen him?

No, not really.

Do you think about him?

Did you come over
to talk about Pierre?

I'm fine.

I'm getting into a rhythm now.

I live like an old granny.

I don't see anyone.
I have everything delivered.

It's nearly the holiday season
so there will be people around.

It's been six months since I saw anyone.

But I'm fine.

How about you?

Well, I...

I'd like you to come to Paris.

It would get you away from here for a bit.

- You want me to go to Paris?
- That's right.

I find that a rather alarming idea.

Why?

- I don't know.
- You should leave here.

Come to Paris.
You can tell me what you think.

You'll see the work...
I need a fresh eye.

I've got to the point where
I need a critical view,

even if you don't like it.

Let me get my thoughts straight.

You're coming to Paris with me.

But there's so much noise.

Here there's a different kind
of noise - silence.

- Silence is good.
- Go on.

Just come for a little while.

If you don't like it, you can come back.

There's a risk
with my rhythm so slow now...

I'd be frightened by it.

I need to see you active;
I know you can help me.

Really?

- Is it a big group?
- No, six.

I wanted you to help with the work
because I couldn't do it with Lili.

What's she doing now?

She's doing
Seven Against Thebes, I think.

- I got a card from her.
- Really?

Quite a long time ago.

But...

Listen, I don't know.
Obviously.

I've got to go to the dentist.
I've got a toothache.

I'm just telling you.

Then we'll take you to the dentist.

I'm sure you'll be...

I'll be scared, with all those people.

- No you won't!
- I've become so antisocial.

You're talking nonsense.

I feel a little lost, a little isolated,
like an old maid.

Yes.

And I live this life...

Let's leave all this, it's over.

- You're coming to Paris.
- Listen, I... I'm not ready.

You're going
to do Madame Prometheus.

Look, I need to...

You're going to do Madame Prometheus.

You're going to do Madame Prometheus.

We're still...

Remember the day
we started smoking.

You still smoke the same brand.

I'm completely overwhelmed.

You've short-circuited me with this.

Can you still hear noises upstairs?

Sometimes he wanders around.

So it's a he? Are you sure?

- I saw him once.
- A he looking for a she.

I saw him in the mirror once.

Then I didn't see him anymore.

Once I put my hand out to the mirror,

and I saw two hands instead of one.

I've tried to see him a few times,
when there's a storm.

I don't think he manifests for nothing.

I think he's looking for something.

Come to Paris.

All right, I Will.

But you've got to look after me.

Yes, totally.

I've lost the ability
to fend for myself.

No, you haven't.

You've got plenty of hidden resources.

- Do you think so?
- Yes.

Let's take a walk.

I'll leave the cigarettes.
We need some air.

Ah, yes, it's beautiful.