All language subtitles for ENG Episode 4

EPISODE 4

FROM SARAH TO COLIN

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. Let's go out.
- Come on, then. Good idea.

There.

I'll leave the cigarettes,
we need some air.

Isn't it beautiful?

Right.

We're here.

First part, Eteocles, the messenger.

So, we'll keep working on that
the way we started.

- In other words, that was good.
- Yes, very good.

Second part.

The movers and...

Eteocles, which changes the style...

- Hello.
- Hey Max. That's sweet.

My little treasure isn't here?

No, he left.
He had to be somewhere.

- Really?
- OK, second part.

The movers, Eteocles,
change of style. Good.

Third part, Coryphaeus,
fast rhythm continues.

Fourth... Wait!

Fourth part, seventh gate...

The messenger, Eteocles...

- The title's beautiful, isn't it?
- Yes.

But this is awful.
Never mind.

Fifth part...

Then the ending?

Yes, then we get to the ending,
the different styles.

Lili, do you think the beginning,

we could do it with just the messenger
and Eteocles,

with the same characters
the whole time?

Instead of changing,
get the boys to really work together?

But Marie, you and me,
we have to work too, go on stage!

Don't you think the costumes at the end
are beautiful?

- They never get on stage.
- I know, but...

One day I went to see it
at the Com�die Fran�aise.

"Iphigeneia". It was beautiful,
even if I didn't have good seats.

In fact, they were always like this.

They spoke loudly,
they didn't yell.

Like me.

- You should go to the conservatory.
- I don't have my diploma.

I am sure that Lili has never been
to the Com�die Fran�aise.

- We should ask her.
- Look at the ending...

- Did you give me a piece of paper?
- Not me.

- Do you have a sister?
- Why wouldn't I?

Shall we go?

Are you coming, Max?

I've lost the keys.

Again?

Did you lock up?

- Lili, did you lock up yesterday?
- Yes, I locked up.

Well?

Here they are!

Sarah?

Sarah?

Oh! Sarah?

Beautiful day, isn't it?

- It's nice, huh?
- It's nice.

Are you coming then?

- Where?
- To Paris.

Can't we walk a while?

Or do you want to leave right away?

Yes. We'll go now
without thinking about it.

You know, it's not nice
to make me beg.

Come along, little lady.

Let's dance.

We're dancing by the sea.

Let's go.
I hate long farewells.

You're an odd one, you are.

Why?

Because I suspect there
are things in your little head.

Listen, Thomas,
since we're on the subject,

I suspect you too.

- Me? What do you suspect me of?
- Of being...

- Of not travelling alone. Of being many.
- What?

What on earth do you mean?

- Not travelling alone? Why?
- Don't you know that expression?

Not travelling alone,
you must have heard that.

You mean I always travel
with twelve or thirteen?

You see what I mean!
That's what I meant.

So, Madame Thirteen...
How come you're Madame Thirteen?

I'm Thirteen...

You don't really know.

You don't know why you're Thirteen,
and neither do I.

But that doesn't need to be said.

Let's walk a bit more.

Yes, but I want you to decide.
If you come you will not be disappointed.

Listen, Thomas, I'll come
because now is the start of the season.

Yes, that's it,
come and have your season in Paris.

If I've got to be surrounded by people,
might as well be you.

And it'll be nice,
what you do with Aeschylus -

you can do your modern Aeschylus,

and you'll find a meaning
for a new type of writing.

You know I love the sea very much.

Remind me, I've forgotten, Prometheus...
It's not about the sea, is it?

Prometheus, he must be drowned,
Prometheus...

So together you're going to drown
Prometheus.

Yes, we're going to execute
Prometheus.

And then we'll chuck him at the wall.

Yes, we'll throw him out.

- OK?
- OK.

Then I am the happiest of men.

Are you going to drive like a madman?

- Do I look like I would?
- But people go funny in cars.

You needn't be afraid with me.

I shall introduce you to city life.

Look.

All our destinies.

- Yes.
- Over there.

That Way?

All the stories that the grass,
and the Alps have told you...

I'm starting to feel a shiver.

You're making up stories
so I won't fall asleep in the car, right?

Look over there.

- Our house is lovely, isn't it?
- Yes!

It makes a pretty picture.

- Keep your hat on.
- Make me feel good.

- When I hold you, everything is better.
- Yes, but this has me all mixed up.

It will be fine.

You think?

The theatre is great, you'll see.

It's a place where you
get to know yourself and other people.

But you know I'm a savage.

- Yes, exactly.
- What about Pierre? Leave him alone.

Oh, Pierre is the past.

- Pierre is dead, long live Thomas.
- Yes, well...

We could fantasize a little.

I could never replace Pierre.

Honestly!
What are you like!

You won't keep your hair
like this in Paris.

- Why?
- You should fix it up.

- You don't like it all frizzy?
- I liked it when you had long hair.

- All right, then.
- For me.

Right. I could even put it in a bun.

Quit messing about.

- You want me to put it in a bun?
- That would be nice.

- Right, have you looked enough now?
- Yes.

- It's beautiful?
- Yes.

- Is it over?
- No, I'll be back.

- You will, but we'll erase it for now.
- Yes.

- Good.
- Let's go on a trip.

Let's dip our toes in.

Yes.

Come on.

It's here.

Hang on. Six, seven, here.

The light.

It's really nice here.

Don't you think?

Bathroom.

It's got everything -

bathtub, bidet, sink.

And it works.

Water, electricity, gas, the works.

That's good, isn't it?
Are you OK?

Sit down.

What's the matter?
Come sit down.

I'm going to show you my hat.

If I can find it.

Say, did you really lose the match?

If I say we lost it, we lost it.

Your hat is funny. I'd like to try it on.

It doesn't look half bad.
Let's see.

But anyway,
it's the guard who gets to wear the hat.

You were lucky I even let you try it on.

- What's the matter?
- It's just...

You seemed so happy earlier on.
Don't you like it here?

It's fine.

What are your friends doing now?

My friends? Why do you care about
what they're doing?

- I don't know.
- They went out for a drink.

I don't give a shit about my friends.

But listen, I don't know
what they're going to think of me.

What they're going to think of you?

- What do you want them to think?
- I don't know.

Haven't you ever been
to a hotel with a bloke?

No.

Really?

- It's not funny. Don't laugh.
- I'm not laughing. I'm just talking.

- Do you do this often?
- Just now in the street

we were talking and you said,
"Let's go to a hotel."

So we went to a hotel.

You make me laugh.

Shit.

So, is your job really being a champion?

A champion?

- I'm not a champion yet.
- But maybe you will be.

Yes.

I know Lechevau.

- Do you know Lechevau?
- No, who's that?

He holds the OL.

A great bloke.

Drat. Look, I've bashed my leg.

- Does that hurt?
- No, that's life.

- Do you want a cigarette?
- Yes, but do you smoke?

Only on special occasions.
And this is a special occasion.

- Tell me, champion...
- Yes?

When are you leaving?

When do I leave?
Tomorrow morning.

What about me?

- What do I do?
- It depends.

Bourgoin isn't so far.

My parents work in the caf�.

I work with them.

If I come back to Paris
for a couple of days we can talk about it.

Do you want me to come back?

Yes.

It's funny, you shake your head
and say yes.

Is there an ashtray?

- What do you do?
- Me?

I'm in school.

You're in school?

- I'd never guess you were still in school.
- Why?

I stopped going for a while
because I was sick.

My father didn't agree,
so I decided to continue.

What are you studying?

I'm in my first year of philosophy.

I only graduated from high school.

It's quite funny really.
I laugh every time I talk about it.

I've had enough of this.
Do you mind if I take a shower?

Not at all.

I mean a bath.
There's no shower so I'll have a bath.

- Are you going to be long?
- While I brush my teeth...

I'll run a bath.

Excuse me.

You're funny.

I'll only be a minute.

- Do you want me to run you a bath?
- No, I'll go second.

- Second?
- I'll have to change the water.

Change the water?
There's no need to change the water.

It works! It works!

Warm! Warm!

Run some warm water.

- I didn't hear a word you said.
- Run some warm water!

You look funny like that with your cap.

With these good strong legs.

When I come back I'll be a champion.
It'll be great.

_ Oh, yes?
_ Huh?

I said, "Oh, yes?"

I'll fight for your honour.

I don't believe you.

Three years ago,
we lost in the quarter finals.

It was Big Willy's fault.

That dickhead.

Hey!

I say,

do you want to come see a match
one of these days?

Hey?

Bitch.

I'll give you your notes.

OK, that's good,
but it still needs some work.

Pay attention.

You need to pick up their notes.

Play the notes again.

Listen to the note.

That was good.

Lower, lower.

Not so fast.

- Shall we do it again?
- That was good.

OK, Shall we try it one more time?

You took their note.

Right, what I think she should do
is work on the chord separately.

Yes, that's right.

OK, good. I'm going to work
with the girls now.

Right, Connie and Th�odore.

You're too low.

And you need to hold the low note.

You have to listen to the difference
and the progression of the note.

- I'm parched.
- Listen.

Work with Marie,
I'm going to make a call.

Marie!

We do taste-physical stuff.

And then we're working on a text-
Seven Against Thebes.

There's music.
We do our exercises based on the text.

You're the director?

No. Wait and see.
You'll be excited.

We haven't performed it.
It still needs to be worked on.

You'll see.

Can you help me with the accounts?

- You sold your share?
- Yes, but I have a problem.

- What month were you born?
- April.

April. One, two, three, four.

Here, take a look.

Want to take a look?

Right, Marie...

And Elaine...

This doesn't interest us.

It's on Auber Street.

No, but it's the only one
open at that time.

Right, so nine o'clock.

See you this evening.

Elaine, come here.

What's the matter?

- Are you going to the office tomorrow?
- Yes, of course.

- Will Georges be there?
- No, he's at court.

- But you'll see him at lunch, right?
- Yes.

I'm not going home tonight.

Can you tell him I slept at your place?

- You could phone him.
- No, I can't.

Quentin.

- Does this remind you of anything?
- It's a secret.

I want you to see it because I'm going
to try it this evening. Tell me if it's good.

- Who's that guy?
- His name is Renaud.

OK, I'm watching.

You are going to be
the most beautiful one there

with your beautiful shoes
and your beautiful dress.

No, I'm wearing trousers.
They've been taken in.

- Everything OK, Renaud?
- Yes.

I won't ask him what he thinks.
He doesn't have good taste.

- Renaud, Lili.
- Hello.

There.

I'd like him to see
the type of work we're doing.

- I'll stand there. I won't move.
- Let's do the chorus.

I guess I am going to have
to practise lines with him, then?

No.

Page 89.

"Four illustrious persons
in the aristocratic sphere

"of Gotha's Almanac,
full of erudition and literary pretensions,

"wherefore without some slight sketch
this social picture would be incomplete."

To the left!

Right, let's see.

Let's read a few passages.

"And now, Hephaestus

"thou must execute
the task our father laid on thee

"and fetter this malefactor
to the jagged rocks

"In adamantine bonds infrangible

"For thine own blossom of all forging fire
he stole and gave to mortals

"for which the Gods
have called him to account

"That he may learn to bear Zeus' tyranny

"And cease to play the lover of mankind."

Put like that,

it sounds odd.

But...

if we had to say...

I don't have the text.

That doesn't matter.
You can just listen.

Take, for example,
the situation of the arrest,

the Dane who gets arrested

in Chicago or elsewhere.

Paris needs...

and so for a few days
becomes infatuated

with the aim of satisfying
certain false, artificial passions

which periodically take it over.

To the right!

I think we can decide now
that we've got all the formats.

I think there are two possibilities.

There's the first one,
which I think is very good,

and the second choice, which,
as we've discussed, would be difficult,

because it's too expensive.

I like this format,

and it will be inexpensive.

The other one would be too expensive
for the clientele.

We've only got a million.

And there will also be a provision
for advertising in your formula.

I think it's important
not to have advertising.

We can put whatever we want
in the newspaper.

Are you part of this discussion,
Pauline?

- Are you listening?
- No.

- What's happening?
- We're deciding on the format.

- It's important.
- Yes.

- We're selling a newspaper.
- Yes.

We've agreed on this one.

- Good.
- I don't agree.

- I like this one.
- It's the same format.

- No, it isn't.
- It's the same paper and format.

Is it the content or the format?

All of it.

I think he's raising a problem of content.

I think it's different.

Sasha prefers pulp.

But this is better, the paper...

You want us to do a paper like that?

The content is very popular.

Yes, but there's already one like this.

We can do better.

We're not going remake that paper.

I don't think we're on quite
the same wavelength.

I'm just saying.

Oh, you don't care?

Well, that's OK, then.

I do and I don't.

So you don't care?

- Right?
- What do you think, Pauline?

I've had enough.
There's so much dust.

Do you agree
about the paper and the content?

Are you sticking to your idea,
since you're financing it,

for general investigative news?

That's right.

- Yes, I'd like that.
- That's not our problem.

Colin!

Journalist with Paris-Jour.

Is this the guy who was here
the other day?

I specialise particularly
in bloody crimes of passion,

appalling murders,

and mysterious major trials.

So I was thinking I might be of use
to your little journal.

Are you talking right now?

If you can hear me
it is because I am talking.

- Who is this guy anyway?
- Now, that's a serious journal.

I like his joke.

He cracked one last time too.

He has his harmonica.

Play something.

Why do you want to leave Paris-Jour?

I'm planning to leave Paris-Jour

if your publication
grows to a substantial size.

You know we can't pay you, right?

Yeah, we can't afford
to pay anyone right now.

This is our financier.

What's your name?

My name is Colin.

Journalist.

I think he's very reliable.

- Do you know him?
- Yes.

- How do you know him?
- I just met him.

He's a good guy.
What he said was sound.

Listen...
What I want to know is...

Do you agree with the format?

- Personally, I don't care.
- You don't care?

- I'm going to make some tea.
- OK.

We can keep discussing the newspaper.
Tea? Yes.

- So we agree then?
- You have my support.

- We're counting on you.
- Don't worry.

Let's go for a smoke.

Do you like music?

Yes.

- You do?
- Yes.

That's good.

You play harmonica?

A little.

What brought you here?

What brought me here...?

I was walking down the street
by chance.

My name is Pauline.

I'm Colin.

- Would you like some tea?
- Yes, I'd love some.

- Shall I wait here?
- No, come this way.

The door!

I think it's supposed to be
rather insulting.

Yes. Listen, stop
feeling sorry for yourself.

You have to be stopped too
because you are too weak,

because you are too sympathetic
to the prisoner.

Hurry up,
hurt him as much as you can.

He's an executioner who can't go on.

He wants the other person
to suffer as much as possible

because he has disobeyed
the supreme law.

So he's the worst sort of criminal.

He absolutely has to suffer,
he must be punished.

He's committed a crime.
There must be punishment.

And it must be as serious as possible.

And even the other one,
who's a bit more ambivalent,

because he has pity for him.

They tell him,
"You too will succumb to the law.

"We're going to hurt you,
and we will arrest you,

"because you're too weak.

"You're not enough of an executioner."

- He's dreadful.
- Hephaistos could be... I don't know.

A half-hearted policeman.

Yes, he could be a sympathiser.

He could be a sympathiser.
He says, "I can't do it."

He's a sympathiser,
but he doesn't refuse to do this work.

He must obey the orders.

Hephaistos is sympathetic to me.

OK, but he gets a friend locked up
because he doesn't want to disobey.

He's afraid.

He's a character who's always afraid
and a little disagreeable.

But in the end,
he carries out the order.

He carries it out, even though
he has much more sympathy

for the criminal
or the culprit in question

than for the one
who gives the order to punish.

He does wrong because he's afraid.

He'd rather hurt a friend
than disobey...

...those above him.

Afterwards Prometheus goes to hell,

which is the contemporary
equivalent of

a completely fixed,
static, imprisoned state.

You can imagine it any way you like.
It's scientific.

The light, for example,
that imprisons you.

You have to think about that.

So, much later, when he's alone...

No, he's with the Coryphaeus.
He says,

"Listen instead
to the miseries of mortals.

"I have made creatures
with the gifts of reason and reflection.

"Before, human beings saw
without seeing, listened without hearing,

"and like the shapes of dreams, muddled
everything up throughout their lives."

Which is not very French.

"And they didn't know houses
of sun-drenched brick,

"they didn't know how to work wood,

"they fled into the ground
like ants fleeing the sun."

OK, I have just
a couple of comments to make.

It was too much of the same rhythm,

and there weren't enough
moments of stillness.

That's all, just those two things.

I think that they need to know
the music better,

because you were hearing something
on the tape and then moving afterwards.

But you need to do it at the same time.

It's a shame because it's like
you've missed something.

I also think that, based on the music,
it should have been much more violent.

This thing.

There should be less movement,

and each gesture
should be more dramatic.

- More dramatic?
- Yes.

I agree.

It's clear that you didn't listen
to the music at all.

You say that they
don't know the music well.

- They don't know it at all.
- Yes, we know the music.

No, you don't. Be quiet.

You didn't listen to the music
and you didn't work well together.

You didn't listen to one another either.

You didn't listen to the music
or to each other.

And your movements were...

- Yes, but we...
- That's true.

That's how we wanted to do it.

That's how we wanted to do it.

No, Marie there were moments

when it was perfectly synchronised
with the music,

and others where it was really clumsy.

As though you'd thought, "That's what
I should have done," and then you did it.

We don't know
one another well enough.

I let myself get carried away
by the movement.

We don't know
one another well enough.

There's no justification for it,
that's all.

Listen to the breaks in the music.

Listen to the breaks.

There are breaks.

You need a movement
to go with the breaks.

I don't know what to do.

Move forward, Quentin.

Quentin!

Good.

There's something we can do here.

There, Quentin.

There's something we can do here.

I think we can go further, here and now.

The thing is to have a dialogue.

- A dialogue?
- Are you questioning it?

No, I'm not questioning it.
It's good for us to come in very strong.

It's a kind of gymnastic thing.

We need to find a real dialogue,

but with something unknown,
we'll improvise.

- We'll change that and we'll improvise.
- Replace the music?

But with singing, with voices.

We make one voice.
Someone makes the voice.

Propose your exercise.

- Let's try, OK?
- Really?

With your voice you can tell
whatever story you want to tell.

Do whatever you like with your voice.

I'm going to try - and so will you -

to do something that's a communion
between the voice and the body.

Don't move, just try it
and don't go too quickly.

Huh? Who will be the body?

Here, you be the body...

- Are you too tired to do it?
- No.

Just try, gently-

- I don't move?
- You don't move.

- I'll do what I like.
- You live only through your mouth.

Wait, is it really that hard?

So you say anything you like,
you're the voice and you're the body.

You don't know what to say.

You need someone with you.
We'll use two people.

No, but she is your body.

- Right, I'll take...
- I am your body.

Wait. You'll be the voice.

You'll be one voice with one body.

But wait, first the voices,
then the bodies come after.

So you are one and two.

- You are the voice.
- Yes, use your flute if you like.

The voice of Renaud
I am Lilt's body.

- I'm the body of...
- Right.

Wait, we'll see afterwards.

So let's start.

You're the bodies.

Yes, yes, but I want you to wait
to make contact with the bodies.

- We'll make contact, Elaine.
- Yes.

We can't move?

No, but... come here.

- Give yourselves some room to work.
- But we're far from our bodies.

Hold on, hold on.

Wait. No, no, wait.

What, we're not starting yet?

- I want it done under better conditions.
- It will be fantastic!

- Let Quentin do it.
- I'm sure it will be great.

Let's start.

We'll do it now.

Let's do it, then we'll see.
Are we starting or not?

Lili, start.

You're the bodies.

You have the impulse.
Try to transmit it.

Hold on! Hold on!

The voices have to find the bodies,
there has to be a dialogue.

- Between the bodies.
- You have space for this.

- And us?
- You? There's a dialogue.

- Our bodies correspond?
- Hold on...

- It's aberrant, because...
- No...

We need to separate the voice
for the body.

Just give me a minute,
we're getting there.

We need to exchange body and voice.
Do you understand?

There are two of you, voices, bodies.
One voice, one body.

Now I want you
to do it how you want to.

You, body one, you approach
voice one and touch it.

You can't refuse...
You aren't allowed to.

- I thought you were...
- I'm the body!

You can't refuse.
Once I touch you that means...

You become the body,
and you're number one's voice.

We agree, we exchange touches.

One last thing.

So we exchange touches.

Voice one, body one.
Voice two, body two.

Now I'd like that the twos...
Because you can describe...

- He is the two?
- The two voices, the two bodies.

It's easy. Voice two, body two.

You can describe whatever you want.

I want you to cross your words
and become several things.

You're right but you're not being clear.
Put yourself here, you're the voice.

- Put yourself behind...
- No, I prefer to dance.

Put yourself here. You are the body.
So voice one, body one.

Voice two, body two.
Put yourself here.

You start to do the voices.
You must not turn or move.

We'll accompany them

by learning to separate
the movements from the music.

How will they be able
to make contact like this?

Go on, start.

- There.
- No...

When you see a movement
you make the change.

You don't have the experience
but it's honestly not possible.

They have to be facing each other.

I don't want to disagree with you
but they need to face one another.

You don't explain things well.
It's very simple.

You think you know...
Please just let me handle it this once.

- I don't see why...
- Let's do it once.

It's a question of contact.

How can you have them
facing the other way?

There's an exchange of roles.
It's simple.

Quentin, listen...

It's a little different,
but I think it's great.

But I don't understand it,

so explain it to me.

All of it?

- All right.
- Thank goodness you're here.

One voice, one body.
I don't know what's so complicated.

We've done more difficult things.

- Hey, Lili...
- Go and stand on the stairs there.

We're taking pictures?

- Hold on, I'll put on more make-up.
- No, don't worry about it.

- Are they colour?
- No.

Quentin...

Quentin, I can see you.

Straight ahead.

Let me see your profile.

Your profile.

There.

Look up. No, not too much.

- Your eyes.
- Where?

Straight ahead.

No smiling!

No smiling and look forward.

That's good?

Drink your tea, it's getting cold.

Never mind.

So, about the paper...

Are you still talking
about the publication?

I'm tired of it.

Fine, we won't talk about it.

If we're not talking about it,
I'm going.

There's no need to get cross.

Bye.

He's so highly strung.

Pauline, does it bother you
if I ask you some questions?

No, it depends on the questions.

Anyway, it really depends
on what you ask.

But you will reply?

OK.

You can ask five questions.

No, not even - three questions.

What's the first?

Am I one of the Thirteen?

I think you're more like eleven.

As in 1 + 10?

More like the unknown one.

And now,
the second question at hand?

Are you one of the Thirteen?

The thirteenth comes back.
It's still the first and always the only one.

Third question?

I have to think.

I'll ask you the third question
at the right time.

Hurry up.
I've been waiting for half an hour.

I don't have what it takes.

Well?

No, no, I...

- Are you OK?
- Yes, yes.

I'd prefer to keep
the third question.

As you wish.

Try to find...

...the silence through breathing.

Be calm.

Quentin...

Barely perceptible.

Just try.

Hold it.

Feel the contact...

...of skin.

Very calmly.

It's not about blood for the moment.

It's a matter of weight.

Only weight.

Full on the floor.

Skin.

Skin on skin.

From here...

...circulation is established...

...which may be of blood...

...or it may be of fire...

...or any other substance.

It's all about weight.

This substance...

You let it flow in...

...from wherever it may come.

And when it begins...

...to penetrate...

...I give it a sound.

A word, perhaps...

...or a phrase.

Whether it's air that I feel...

...or water...

...or fire.

I let it...

...pass through my skin.

Gradually...

...I start to articulate it.

Burn...

I start to articulate it.

Burn...

- I start to articulate it.
- Burn.

Burn.

Burn.

Burn.

Burn.

I don't want to burn.

I don't want to burn.

I don't want to burn.

I don't want to burn.

It's hot.

It's hot.

It's hot...

It's hot.

Push.

- It's hot.
- Push.

- Push.
- It's hot.

Push.

Push.

Push.

Push.

Push.

Push.

Push.

- It's hot.
- Push.

It's hot.

- Push.
- It's hot.

It's hot.

Push.

It's hot.

- Push.
- It's hot.

- It's hot.
- Push.

It's hot.

- Push.
- It's hot.

- But...
- Do you play chess?

No, not at all.

It's just I've never seen anyone
playing on their own like that.

Well, there are two of us now.

Now, yes. But how do you know
I want to play?

Do you want to play?

OK.

Let's do it.

You'll have to teach me.
I don't know how.

Were you out for a walk in the garden?

I was out walking
and I saw there was a house.

What do you mean?

I've never seen a house here
and I live nearby.

This is not a public park here

How do you mean?
I pass by here all the time.

That's my garden.

I've often come past here,
but I didn't realise that.

This is the first time I saw a house here,
perhaps because you're not often here.

Because from over there
you can't see the house?

Maybe.

- You live in the neighbourhood?
- A couple of minutes from here...

- Huh?
- Yes.

And this is the first time
you've seen this house?

When I'm in the neighbourhood
I often come this way,

but I've never ever
noticed this house before,

and I've never ever seen anyone
playing chess on their own.

- Then you've not seen much.
- No.

It's funny though,
because only I do things like that.

- So what do you do then?
- Not much.

You wander about in the streets,
in front of the houses?

That's none of your business.

Well, it is because
you've come into my house!

- You opened your window to me.
- Yes, but now...

- What do you do in life?
- I'm not going to tell you.

- You're not a police inspector are you?
- No, I'm not.

Can you play chess on your own?

You can play chess on your own
perfectly well.

- Is that true?
- Yes.

Is that normal?

It's perfectly normal to play
chess on your own.

First you play for one side,
then the other.

I don't know. I've never been able
to learn games like that.

There are lots of rules.
I don't like that.

You play games?

- Yes, but I play by myself.
- Which ones?

All sorts.

- All sorts.
- Yes.

Tell me what you play.

When I'm bored I imagine there's
someone there who's playing with me.

That's exactly what I'm doing.

That's why I liked it.

Chess seems scary,
it looks a bit mathematical to me.

A bit mathematical?
Yes, very mathematical.

Is math interesting?
Isn't it a bit tiring?

It can be tiring,
but it depends on what you're doing.

Let's have a game of chess.
I'll teach you the rules.

I thought it was just doctors
who played chess.

Why doctors?

They look like the kind of people
who would play it.

They have the minds for maths.

It's nothing to do with minds.

So, besides this,
what do you do in life?

What else do you do?

I try to live life, that's all.

That's not easy.

- You make do with what you have.
- And what do you have?

Not much.

It varies from day to day,

depending on where I am.

- I'll tell you what you do.
- What's that?

- You're a student?
- Maybe.

- "Maybe".
- You're close.

But that's not quite it.

You're at school.
You've had to repeat a year.

- I've never had to repeat a year.
- Never?

I don't allow myself to fail.

What does 'checkmate' mean
in chess?

Well, no one really knows
what it means.

'Mate' is probably a Turkish word,

perhaps linked to the word for death,

so it's the king who's going to die
when it's checkmate.

It's funny,
the French can't speak French.

- Do you mean Turkish or French?
- French.

I thought that 'check'
meant failure or losing.

But in checkmate,
the king is going to die.

Is that the king?

Yes, that's the king.

- And that king is...
- White.

And that's the black king.

- Would you like me to teach you?
- No, it's all very interesting...

- Maybe afterwards.
- Are there laws?

- There are laws.
- I'm scared of laws.

- Would you like a drink?
- Yes, I must admit.

And afterwards I'll teach you.

What would you like to drink?

- Depends what you've got.
- Anything you like.

- Then I'd like a cocktail.
- A cocktail.

Have you got any children?

Yes, I've got children,
but they're not here.

Children like grenadine.

- Grenadine...
- So, grenadine at the bottom.

Then I'd like some whisky...

- Can you do that?
- I've got grenadine, I've got whisky.

Then that Russian stuff...

- Vodka.
- Yes, vodka! A bit of vodka.

- And that's it!
- That's it?

- I don't know...
- You stir it three times.

I'll get it for you. I don't know
if you can learn chess after that.

- We'll see.
- We'll see, shall we?

- Is that right?
- Yes.

Wow! What a funny colour.

It's not very nice.

- Is that what I asked for?
- Precisely.

- Are you sure?
- Absolutely.

- Try it.
- I'm sure that it is really gross.

- It is, absolutely.
- Not bad.

It isn't? Really?

So, do you want to learn
how to play chess now?

- I've tried.
- Do you want a chair?

- They're all checkmate.
- They're all checkmate?

They're all dead.
I don't understand any of it.

But, you have to learn the rules first.

- Really?
- Yes.

- Can the rules be taught?
- Yes.

- No, it's not possible.
- Not right now?

I don't have the time.

I wanted to ask you some things.

What sort of things?

- What do you do in life? For real?
- For real?

I don't do anything for fake.
I do everything for real.

Meaning?

- You mean what's my job, right?
- Yes.

- You said you weren't a doctor.
- No I'm not a doctor.

There are other careers.

For example, I make deals.

- I buy and sell.
- What are deals?

I buy things abroad
and I sell them here in France

and I make a profit on the sales.

- Isn't that trafficking?
- No, it's trade.

It's honest and legal.

Do you make a lot of money?

It pays well, yes.

- Are you cunning?
- In business, yes.

Yes?
What about in chess?

I'm a pretty good chess-player.

That's great.

- Will you teach me one day?
- I'll teach you now.

- No. I can't do it now.
- Ah, you can't.

I've got business to attend to.

- Business?
- Yes.

- Business?
- Personal business.

Urgent?

Not urgent, but pressing.

- Pressing?
- Pressing, that's right.

Then you'd better
go about your business.

But I'd like to... I don't know...
You fascinate me.

Ah! Then that's another thing.

- Yes.
- Well...

I was wondering something.
If I called you would you remember me?

- Call me... how?
- Phone you.

Oh, phone me!

I don't see why not.
You're a neighbour.

Yes, I pass by here all the time.

I'd like to play a game of chess.

That's an excellent idea.

- So you're going to call me?
- I'll call you on the telephone.

- Yes? What number?
- You haven't told me.

- Do you want to write it down?
- No, I've got a good memory.

- Right. Mirabeau...
- Mirabeau...

-92...
-92...

- Like the Revolution.
- Yes. Very good.

-46...
-46...

I got it, three years before I was born.

- That's it.
- Great.

Mirabeau 92-46.

So you're leaving.

Yes, the big departure.

- You'll play with me?
- Yes, I'll play with you...

Suppose I'm here.

- Right...
- What's your name?

- Fr�d�rique.
- Fr�d�rique. Great.

- Goodbye, Fr�d�rique.
- Goodbye, sir.

Strange girl.

Completely crazy.

He has a cold!

- Hello.
- Hello.

My stomach is growling.

His stomach is growling.

He's got another cold.

His stomach is growling.

He always repeats the same thing?

Pull harder... He's very chatty.

- Hello.
- Hello.

- What's his name?
- It's Bear.

Bear?

He's hungry, you need
to give him something to eat.

Someone's at the door.

Who's here at this hour?

I was just thinking about
you this afternoon.

- I was wondering what you were up to.
- Hello.

How are you girls doing?

- Hello.
- Look.

- You two know each other, right?
- Yes.

- I brought a little surprise for you.
- What is it?

Here.

What a great idea.
It's wonderful!

It's really wonderful!
Did you know tortoises bring happiness?

Have you ever seen one before?

Look, it walks.

They're surprised, really surprised.

Here, look.

- Ah!
- Do you like it?

- We have to celebrate this.
- Yes.

I have some champagne
in the refrigerator.

I'm going to get it.

Play with the tortoise.

Here, hold it like this.

Have you ever seen a tortoise before?

Gabrielle Levigne...

Not interested in that.

Nor those.

Etienne Loinod.

Here.

"Etienne, if you have time,

"come to W's tomorrow evening
at ten o'clock.

"It's important.

"We'll try to work out a plan of action.

"I feel as though
I'm going round in circles.

"Bring Pierre. Lucie."

- You'll have to open the bottle.
- Here, play with this.

Make the tortoise walk over there.

You have to be careful with the tortoise,
or it'll get a sore tummy.

- You know that.
- No.

What do you mean, "no"?

Careful.

Mummy, put it on the ground.

Well done.

Put it on the ground.

Careful, careful.

Would you like some?

We have to celebrate
the arrival of the tortoise.

But where's the tortoise?

Where is that tortoise?
We'll christen it.

- There it is! What shall we call it?
- I don't know...

What do you think?

We'll call it Zephirine.
Yes, that'll do.

I christen you Zephirine.

That's very nice of you.

Did you know that
our parrot flew out of the window?

- I didn't know.
- Put it on the ground.

- Put it on the ground.
- No, the ground is cold.

Could you go get the cookies,
the chocolate ones?

I saw Pierre,
and he asked after you.

Don't put the tortoise on the ground.

- What did you say?
- Pierre wanted to know how you were...

...and whether you'd had any news.

Pierre? I never see him.

I don't really think he's a good guy.

- Why?
- I don't know. I just don't.

Just an intuition.

He was worried because things
have deteriorated a bit in Mexico.

Leave the tortoise there.

- You know...
- Put it on the ground.

No, it will leave droppings
all over the carpet.

Play with the tortoise.

- What were you saying?
- Things have deteriorated in Mexico.

I wanted to know whether...

- Do you want a cookie?
- ...whether our friends...

- Eat.
- What is it?

A cookie.

I wanted to know if you'd had a letter,
if you'd heard anything.

I've had no news at all.

I've lost hope of hearing anything.

"Dear Etienne,

"I can't join Pierre
for what we agreed.

"Things are still the same,

"but I don't think
it really matters just now.

"I received a vague telegram...

"I'm scared. Never mind.
He's awake, he'll understand.

"Tomorrow at the same address."

Right...

There.

How long has it been now?

Six months. I've lost all hope.

You mustn't lose hope,

not until you've heard officially
or received a notice.

I wouldn't hear anything official,
because Igor didn't go in an official way.

But he's often been away
for several months with no news.

Yes, but he's always found a way...

...to send some word to me,
you know?

He could have at least...

He could have at least asked
after the children.

- Have you got a cigarette?
- Yes.

- What do you smoke?
- Anything. American tobacco.

How is everything, Iris?

- Everything is going well.
- Any news from Igor?

None yet.

- But you are OK?
- Yes, and you?

I'm not feeling great at the moment.

- Luckily I've got the shop.
- Is it going well?

Yes. It's always full of people.

They're not there to buy though.
It distracts me at least.

Right, you.

Do you miss your dad?
Do you think about him?

Where is he?
Where is your dad?

- They look like their dad, no?
- He's there? Where is he?

- He's gone away.
- He's gone away? Where's he gone?

They're looking like their dad,
more and more.

- Yes, that's what I was saying before.
- He's gone away.

He's gone away.

He's gone away.
Well, that's good.

And what about you,
do you miss your dad?

He's gone away.

- He's gone away?
- Please talk about something else.

- Where is the tortoise?
- The tortoise... Where is the tortoise?

Have you seen Etienne?

No, I don't see anyone.
Too busy.

Here, give the tortoise a kiss.

There.

Very good!
I think you will be great friends.

I don't see why not.

Thank you. You see?
they cross their knees like their father.

It's not proper.

They're playing
with these horrible American toys...

Do you see that?
That's death.

Couldn't you play another game?

I play with whatever I find.

My ball!

Don't you think
that it's completely hopeless...

Never lose hope.

What's that?

What's that?

Look, that's Santa Claus...

That's a little Mexican doll.

You don't find it unbelievable
that we've had no news?

Madame! Madame!

No, that's not Madame, it's Monsieur.

- You don't think it's a Monsieur?
- No.

Yes, it's a Monsieur.

It's a real zoo here -
a tortoise, dogs...

We have to buy some lettuce.

- Are you doing well?
- Yes.

- Yes?
- Yes.

But you can't leave so soon?

I've got to see someone.

- Have a little more champagne.
- OK, just a little bit.

You haven't told me
anything about your life.

I don't have much to tell.

You want to give it some lettuce?

No, it doesn't need lettuce.

What did you say?
It doesn't need lettuce?

That's all it eats -
grass and lettuce.

But since we don't have grass,
here, we'll give it lettuce.

What's the matter?
He's not happy.

- What do you want?
- He wants a cookie.

Hello.

He would be good
for the role of Prometheus!

You know, I thought it would be good
to have Pierre play Prometheus.

- Are you and Pierre good friends?
- Yes.

He's one of my most important friends.

It's strange - I don't get him at all.
Not at all.

He's rather shy, but he's a good person.

Architects are a bit strange, you know.

- What?
- All architects are strange.

"It's all-consuming."

All-consuming. Right.

"Pierre."

That's that.

Another letter...

Normandy Hotel, that's old...

12.06.65.

"I'm obliged to leave again immediately

"for the reason that you know.

"Saw Pierre yesterday at War0k's.

"He can't break with the Thirteen -

"late and rather confused discussion.

"W agrees with both of us as usual.

"Don't call or write to my address,

"at the moment it's better
to use the Corner of Chance.

"Fraternal greetings, lg0r."

Igor, Igor...

1.3.69.

"Most touched by your message,
which I have just found as I got in.

"But I feel removed from all of this...

"it's like a distant memory...

"I think Pierre is a bit annoyed with me,
as though I'd broken the pact.

"How can I make him understand

"that it's this that gives you
your charm and strength.

"Emilie sends her love.

"Fraternal greetings, lg0r."

I'll keep that.

Lucie de Grave.

13, Saint Louis Street.

"Louis Meyer,
Plans for the future city."

I don't get it.

"Say that it's not easy and
that they will all find each other..."

Not interesting.

Place me as I should be.

Holy was our ambition.

Towards the harbour
you must reach

a hand will guide yours.

Two paths open up before you.

Place me as I should be.

Holy was our ambition.

To the harbour you must reach

a hand will guide yours.

Two paths open up before me.

Place me as I should be.

Holy was our ambition.

To the harbour you must reach

a hand will guide yours.

Two paths open up before you.

Place me as I should be.

Holy was our ambition.

To the harbour you must reach

a hand will guide yours.

Two paths open up before you.

Place me as I should be.

Holy was our ambition.

To the harbour you must reach
a hand will guide yours.

Two paths open up before you.