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THE THEATRE OF THE MATTERS

DEDICATED TO THE MEMORY OF PIER PAOLO PASOLINI

TWO FRAGMENTS FROM BIZET'S "L'ARLÉSIENNE"

AND SEVERAL BARS FROM DELIBES' "SYLVIA"

ARE PERFORMED, RESPECTIVELY, BY THE CZECH PHILHARMONIC ORCHESTRA

AND THE ORCHESTRE DE LA SOCIÉTÉ DES CONCERTS DU CONSERVATOIRE

UNDER THE DIRECTION OF ROGER DÉSORMIÈRE

BETWEEN 1922 AND 1952 THE FRENCH CONDUCTOR ROGER DÉSORMIÈRE

WAS A CHAMPION OF CONTEMPORARY MUSIC AND A DISCOVERER OF OLD SCORES

HE MADE A DECISIVE CONTRIBUTION TO THE UNDISCRIMINATING PRESERVATION

OF ALL FRENCH MUSIC, FROM RAMEAU TO YOUNG BOULEZ

HIS RECORDING OF DEBUSSY'S "PELLÉAS AND MÉLISANDE"

IS NOW DESERVEDLY CONSIDERED LEGENDARY

WILHELM FURTWÄNGLER CONDUCTED

THE BERLIN PHILHARMONIC ORCHESTRA FROM 1922 TO 1954

HE BECAME RENOWED FOR HIS INTERPRETATIONS

OF BEETHOVEN AND WAGNER, BRAHMS AND BRUCKNER

WE WILL HEAR SEVERAL BARS OF HIM REHEARSING

BEETHOVEN'S "LEONORA OVERTURE NO. 3"

WITH THE STOCKHOLM PHILHARMONIC ORCHESTRA

THE THEATRE OF THE MATTERS PRESENTS: MAETERLINCK'S "PELLÉAS AND MÉLISANDE"

LAST PERFORMANCE

I took the receipts down.

Very well.

You can go, I'll close up myself.

Oh yes, Lina,

if you get news about Martine, please let me know.

- Very well. Goodbye, M. Hermann. - Goodbye, Lina.

Would you like to know what happened next?

Yes, of course.

As soon as we attacked the scherzo of Bruckner's "Symphony No. 4"...

It's true that here in France you don't like the poor Bruckner much.

So, imagine Furt...

He was the first to hear the bombs exploding.

They were falling closer and closer.

But we didn't leave before finishing the scherzo.

Although that day it was more of a presto.

The musicians of Berlin still can't forget it.

At least, I can't.

Would you like more tea?

What you are telling me is fascinating.

What I have always found regretful about Furtwängler

was his inclination to temper with the tempo.

Désormière scrupulously respected the score.

Nothing could have made him force his pace.

But for me it all is a thing of the past.

I've given up the harp

but not the boards.

I'd love to perform on stage.

Please excuse my silly fainting fit.

I'm sorry to cause you so much trouble.

No, not at all.

You will sleep here,

and I'll take the sofa.

It much too cold outside to let you go.

I hope you'll sleep well.

Tea always makes me fall asleep.

Tomorrow, if you're better,

we'll have time to talk at leisure.

I might very well give you the part of Catherine de' Medici.

Catherine de' Medici...

- Good morning. - Hello.

Any news while I was gone?

Line 1.

Hang up, Christophe.

Yes...

Yes, I'll investigate and call you back.

Certainly...

I'm very sorry.

Louis, was it you who forgot to reserve the tickets to Zurich for the "A-Z group?

- Four Russian chemists. - No, Russian chemists are Christophe's responsibility.

I never work with the "A-Z' group. They are nothing but trouble.

See to it that it doesn't happen again.

This year we've had complaints coming in one after another.

I can't shut my eyes to it any more.

I scarce, my liege, had numbered twenty years,

trained in the path of strictest discipline

and nursed in deadliest hate to papacy...

Annie, Philippe, wake up!

I'm working...

- Annie, I'm off to Reims. - Yes.

Alain, the order.

I ordered steamed potatoes, not fried.

I'm sorry, Madame. Steamed potatoes, please.

Steamed potatoes!

- Aren't they ready yet? - Not, they're not.

We have no steamed potatoes. Well, cook some.

Hat die Königin doch nichts voraus vor dem gemeinen Bürgerweibe!

In this a queen has not one privilege above all other women.

This common token marks one common duty, one common servitude;

the ring denotes marriage, and 'tis of rings a chain is formed.

Convey this present to his highness; 'tis as yet no chain, it binds me not as yet,

but out of it may grow a link to bind me.

Mary Stuart is a queen as well. It needs to be reflected in her costume.

- Jewels and all... - Like jewels they wore on the best days of the year...

- Désormière? - And you said you didn't have a spare sou to buy groceries.

Theatre and home are two completely different things.

Are we agreed?

You'll play Elizabeth I.

I'll go and choose a costume.

Beware of the seducers, it takes a trifle to render them odious.

I don't know why he gave up the violin. He's said to have been well paid in Berlin.

Do you have money troubles? Can I help?

It's nothing serious.

Are you a musician as well?

I too would have liked to learn music.

But in a provincial town...

Yes.

I played the harp.

But I had to stop.

My fingers started to get numb all of a sudden.

Why were you talking about Désormière with M. Hermann?

Something isn't clear about the money.

If you made up your mind to work with us I must explain...

- Hermann and I... - See you soon.

Well, I need to go.

What about your office?

Will you be able to leave earlier?

Yes, I'll arrange to leave at 5.

It's strange,

I thought your friend Brigitte talked with you about Désormière.

What? Oh, no, not at all.

What do you see in that Désormière of yours?

In Germany he's known by hearsay at best.

He respected the composer's design

to the last note.

For him the score was sacred.

Even with the smallest bit by Gounod

he considered it his duty to serve the composer.

He demanded absolute abnegation.

The musicians seemed electrified.

With Furt is was difficult not to be electrified.

During those moment we traversed the limits of music.

With him "The Twilight of the Gods"...

The gods of Wagner are not my gods.

Oh, excuse me,

you are German.

Of course,

if one listens only to the mawkish French music...

We're starting the rehearsals.

Come along, if you're interested.

Your stake is burning!

Leave it alone. Give it to me.

What do you mean?

You were reading at work,

my husband noticed it and found a replacement for you.

You can go to the office and collect your cheque.

- But I was doing all I was told. - You were,

but when on busy days we asked you to stay late and help with the washing up

you would always have something better to do somewhere else.

We're not going to indulge your whims.

And if next time somebody asks you if the potatoes are new,

- say that they are. - OK, I get it.

- Did you talk about "Maria Stuart"? - No.

He's starting the rehearsals.

He told me to come.

- Nobody seems to get paid here. - This isn't true.

Out pay is modest but fair.

As Catherine de' Medici I get 50 francs a show.

I don't even have any lines, as there's no such character in Schiller's play.

And as the Company is complete, he asked me to take up the resourcing.

This isn't true as well. The Company is never complete.

He needs to find people for all these parts.

There are plenty of actors around who'd kill their own parents to get on the stage.

What did you tell him?

- Did you refuse? - At once.

- Good for you! - No, that's what I told him: "At once".

- How do you mean, "at once"? - That I can start working at once.

- And I'll try to find some money for him. - And then?

He offered me a cup of tea and started talking about music.

That's strange. He never does that with me.

Excuse me, do you work in the Theatre of the Matters?

I do.

Why isn't there a picture of you at the entrance?

You were so good in "Pelléas and Mélisande".

What do you do?

I work at a restaurant near the cultural centre.

My bosses are the coordinators at the Maison de la Culture.

It must be nice to be an actress like you?

I haven't always been an actress.

I've been married for two years.

My husband wanted to sell his grandfather's garage.

And the Company of the Theatre of the Matters was looking for the premises.

That's how I met the actors

and the director.

I asked my husband to give them a discount

and to arrange something like hire-purchase.

- But Hermann... - Your husband was German?

No, my husband's name was Hervé.

Hermann is the director.

He couldn't pay on time and my husband got angry.

He decided to give the theatre over to some businessman whom we never see

but who sends us money on a regular basis.

And then my husband moved to Ireland.

Now I share my life with Hermann.

And I'm happy.

Will you have a cup of coffee with me?

OK.

But make it a double café.

Yes, yes, I'm coming.

Oh, it's you...

I completely forgot that my wife was coming for the holidays.

- You wife? You're married? - Not so loud, she's upstairs.

Look...

Here...

Check in at a hotel. There's a very good one just round the corner.

You wish! The hotels are all full on Christmas.

Well, I'm sorry.

No offence.

He's married...

I wish she'd go back to Montauban...

- What's wrong? - Nothing, I just left the door unlocked.

Aren't you going to bed?

I keep worrying about something.

I must get hold of thousand francs to hire a deluxe suite at a hotel.

I can't bring the journalists here, you see...

Of course, darling.

Bring them over to my place.

It's even worse.

And then, I can't pay the actors, and there are also the rent, the costumes, the sets...

You know, I can ask about the hotel at my travel agency.

We might give you a 25% discount.

OK, then I'll sell my diamond.

If you really want to...

You said once:

"Theatre is first and foremost bodies among sets."

Yes, I used this formula

when working on the mise-en-scène for "Pelléas and Mélisande"

to explain that the actors were supposed not to carry the text,

but to be carried by it.

That's why we prefer to perform in small spaces,

where there is no need to raise one's voice.

I must also add that the actors are bodies,

that can stop speaking and switch to another language.

When the tension comes to a point when it can no longer be conveyed by speech,

human body begins to express itself, with varying intensity,

by secreting various matters.

As a rule, everything begins with tears and can end with blood.

But the theatre, as you well know,

employs not only the matters of the human body,

the amount of which is relatively scant,

but all the matters of the cosmos

that, turned by men into objects,

can be

sold, bought, desired, coveted,

stolen, exchanged, respected, despised,

discarded or lost...

The range is extensive but not infinite.

Because the confines of the stage limit the possibility

to demonstrate the material objects.

Thus, whatever is left behind the physical stage...

"...or is too insignificant to be visible,

must be transformed into words or symbols,

like the temple in Classical tragedy,

or the needle in comedy.

Such is the great polyphony of matters

that I'm attempting to show on the stage."

You can sit down, he's not going to say anything else.

What do you do exactly in the Theatre of the Matters?

My real name is Setengrin. I'm a Concertmaster.

Hermann borrowed it from philharmonics.

He played the first violin in the Berlin Philharmonic Orchestra.

I know this.

- Any more questions? - No.

- And no other journalists either. - You know,

when I first heard the name of your Company,

I thought it was called the "Theatre of May Terse",

like the "Theatre of Silvia Monfort".

Did you? No, it's not like that at all.

I can't believe it. You still haven't learned your lines?

I have, but I like to re-read them.

- Cali, turn on the light, please. - OK.

- And your restaurant? All OK? - Yeah.

Who do you think is the best: Goethe or Schiller?

I don't know, but judging by "Maria Stuart"...

In any case I only like Raymond Roussel.

The important thing is for "Maria Stuart" to turn out well.

My parents stopped giving me money.

Because I don't want to get married.

Are you painting the crown of Elizabeth or Mary Stuart?

I don't have a slightest idea.

The gilt has completely come off,

and Hermann tells me to paint it before every rehearsal.

Would you like to rent a flat together with me?

If you like.

You think we'll be able to live together?

Of course.

Do you think this will do?

Hold on... Give me the brush.

O place and greatness! millions of false eyes are stuck upon thee...

Who was that woman yesterday who came to the rehearsal and didn't say a word?

The lady from the agency?

I don't know.

I think she gives money to Hermann.

Will it be you who plays Maria Stuart after all?

Hermann hasn't decided yet.

Damn, I have to do the inside as well...

Excuse me for disturbing you, but is Hermann here?

I don't think he is.

- He isn't here? - He should be here by now.

I'm out of paint. I'm going upstairs to get some more.

This "Maria Start" is great.

Spread no more life's verdant carpet out before my eyes,

remember I am wretched, and a prisoner.

Oh, there you are.

- Do you know where all my paint goes? - No.

Oh, Martine,

if you disappear, call Lina from time to time, I might need you...

- One can never reach her. - Persevere.

And if you see a woman in furs downstairs, let me know.

Another one of your discoveries?

Don't worry. Mary Stuart is yours.

We'll see. Anyway, all the paint is gone without a trace.

Something is always missing.

Look, even if this woman...

Well, make an effort...

- Her name is Dorothée. - Yes, yes.

Of course you took her on.

You've been promising to pay us for two weeks.

She's very talented, very kind,

and she's ready to play Catherine de' Medici for free.

We'll see if she can hold out longer than Brigitte.

OK, I'm going down to see if she's here.

Know who it is? Hermann's new girlfriend.

- Who? - The woman downstairs, Dorothée, who'll be performing.

Tell it to Philippe and everyone else if it's so important.

Have you finished altering my dress?

- It just needs a couple of stitches. - Well, do them now.

And I need to buy some paint.

Bloody sewing-machine.

I have a gift for you.

But it's the second one you're giving me.

I thought I'd buy it to replace the one that had been stolen.

I have money to spare for that.

- In that case... - Be careful not to lose this one.

That'll be easy: I shan't part with it.

Would you like to start with our mouise?

- What is mouise? - It's a dish. Over there.

An assortment of various kinds of caviar.

So, will you try mouise?

Yes.

If I may, Madame, it's the specialty of the house.

This word, "mouise", originally meant "the pottage of the poor".

I believe it comes from the west-German dialect,

or, maybe, the south-west one,

where we find words like "Mus" and "Mues" meaning "gruel".

Even in modern German there are words "Mus" and "Mues" that mean "stewed fruit".

But let's get back to France.

If I'm not mistaken, the word "mouise" was first used by Vidocq

between 1835 and 1840.

And I also remember the name of the film...

the name of the film I watched in 1935 or 1940:

"Notre-Dame de la mouise".

It was a grand specimen of the populist Catholic propaganda,

slightly similar to the modern productions

marked by the middle-class ouvrierism of, let's say, Maoist persuasion.

Well, that's about it.

What about teaching music?

Doesn't it interest you at all?

I don't know what to say.

I'll be obliged to leave the agency.

Yes, it's true.

Well, are you happy about getting the part of Catherine de' Medici?

I am.

But not everyone is.

In any case, Philippe and Martine like you, Dorothée.

How do you know?

Repetos didn't hear them talking about you at all.

I wish your theatre would never stop.

I want to spend my whole life

playing Aeschylus, Shakespeare,

Racine, Claudel...

Claudel? Not in my theatre.

So, you didn't sell it after all?

No, it's my grandmother's ring. I'm not giving it up.

You're not? Very well.

You can always wear it on stage.

It'll look better that those rental rings.

Mental rings?

"Mental"... Rental.

You know, not a single magazine published my interview.

So much for the promises.

Don't you sometimes regret having given up music?

Yes.

OK, we're rehearsing the grief of Mary Stuart

and the anxious anticipation of Catherine de' Medici.

Can one conclude that you are drawing up a summary table of the royal subconscious?

Why is there so little light on Catherine de' Medici?

Cali has disappeared.

Find a replacement as soon as possible.

The lighting is not very important in the scenes with dialogue

but with the pantomime we can't do without it.

The handkerchief of Mary Stuart

and the legs of Catherine de' Medici underneath her dress:

one has to feel a certain movement.

What about the bed?

We'll bring the one from upstairs when needed.

- Where are the cotton balls? - Here you are.

- Do you want to put me to sleep? - Put you to sleep?

You gave me tea, it always makes me fall asleep.

Come now, Dorothée, it's a cotton box.

You know, I can let you have my flat. The rent is very low.

I'll move in with Hermann.

That's great! How many rooms does it have?

Philippe and I are just looking for a place to live.

Two rooms, a kitchenette and a bathroom.

- How much do you pay for it? - 45 thousands a quarter.

When can I have a look at it?

Right now, if you like. Today is Saturday, I have time.

Martine, we're repeating your big scene from Act I.

It's every day like this. You'll see.

I think it's charming.

Have a seat, Dorothée.

Have you seen the weather outside?

- Yes, Madame. - Very nice, isn't it? - Yes.

It wouldn't hurt you to go for a walk sometimes.

Mme Nogrette, I don't understand you.

It doesn't matter. You can go.

Isn't it too cold to be reading?

No, why?

What are you reading?

"Plays by Schiller". "Mary Stuart".

Never read it. But I know "The Robbers".

Do you work in a theatre?

Yes, and you?

Me too.

Only I work with the lighting. But I'm out of work at present.

You are? But that's great, we're just looking for a lighting technician.

What is the name of your theatre?

- "The Theatre of the Matters". - Come again?

"The Theatre of the Matters". It's in the suburbs.

You think they'll hire me?

Come with me to the rehearsals. In an hour.

Christophe never turned up. Did he call?

No, I haven't seen him today.

- I have a date. See you tomorrow. - Bye.

THE THEATRE OF THE MATTERS "MARY STUART"

No, it's this way.

Have a look around and then I'll introduce you.

What shall we do after "Mary Stuart"?

Don't worry.

We have already signed up for 33 performances.

All thanks to Dorothée.

And then, if we get more spectators,

I think I'll be able to put on the great chronicle of St. Bartholomew's Night.

It's a long-time dream of mine.

I know a very good dialogue writer.

A very strange man.

He never talks and always wears the same scarf.

- The yellow one. - Yes, yellow.

I have things to do.

You know, Dorothée...

you have an opportunity to play Catherine de' Medici again.

Long live the Theatre of the Matters!

I found us a lighter.

Christophe!

Christophe!

Christophe!

I found a lighter, but he disappeared.

That's OK, we don't need him.

Cali is coming back tomorrow. He called Lina.

"Dorothée."

Come in, it's open.

Come on in.

Brigitte asked me to come.

She doesn't want to see anyone from the theatre.

But she asked me to tell you to be on your guard with M. Hermann

- and his wife. - His wife?

His wife.

That's right. It's all I should say.

It's all I know.

Oh, yes:

he's also incapable of appreciating people.

Excuse me.

Close the door but leave it ajar.

You're carrying bags. After you.

- How is she? - I didn't ask her.

She was painting her toenails.

She must have been surprised.

Although you never can tell with those round eyes of hers.

When I told her about his wife

she just said: "His wife". Just like that.

- I had no wish to keep talking to her. - That's OK.

I know: I'll call her travel agency. They might have something.

- Where would we go? To Montauban? - No, I mean the job.

You should have stayed and talked to her some more.

You are so shy!

For whatsoe'er thou seest grow big with glad increase,

and step by step climb upward to ripe age,

these to themselves take in more bodies than they send from selves,

whilst still the food is easily infused through all the veins,

so far expanded that they cast away such numerous atoms

as to cause a waste greater than nutriment whereby they wax.

For 'tmust be granted, truly, that from things many a body ebbeth and runs off;

but yet still more must come,

until the things have touched development's top pinnacle;

then old age breaks their powers and ripe strength

and falls away into a worser part.

For ever the ampler and more wide a thing,

as soon as ever its augmentation ends,

it scatters abroad forthwith to all sides round more bodies,

sending them from out itself.

nor easily now is food disseminate through all its veins;

nor is that food enough to equal with a new supply on hand

those plenteous exhalations it gives off.

Thus, fairly, all things perish,

when with ebbing they're made less dense

and when from blows without they are laid low;

since food at last...

at last will fail extremest eld,

and bodies from outside cease not with thumping to undo a thing

and overmaster by infesting blows.

Thus, too, the ramparts...

the ramparts of the mighty world

on all sides round shall taken be by storm,

and tumble to wrack and shivered fragments down.

For food it is must keep things whole, renewing;

- 'tis food... - Here you have the set and costumes all ready for you.

...'tis food must prop and give support to all,

but to no purpose,

since nor veins suffice to hold enough,

nor nature ministers as much as needful.

OK. Let's get back to the theatre.

THE THEATRE OF THE MATTERS PRESENTS: SCHILLER'S "MARY STUART"

Thank you. Where is the auditorium?

- Second door to the left. - Thank you, Madame.

- Give me my coat back. - You check, please.

- I don't have one. There it is, give it to me. - I can't, Monsieur.

Give it to me or I'll kick up a row. It's a refrigerator, not a theatre.

Stop shouting, you're disturbing the actors.

What were my feelings, then,

as I approached the threshold of the churches,

and within, heard heavenly music floating in the air:

while from the walls and high-wrought roofs there streamed

crowds of celestial forms in endless train -

when the Most High, Most Glorious pervaded

my captivated sense in real presence!

And when I saw the great and godlike visions,

The Salutation, The Nativity,

The Holy Mother, and the Trinity's descent,

the luminous transfiguration

and last the holy pontiff, clad in all the glory of his office,

bless the people!

Oh! what is all the pomp of gold

and jewels with which the kings of earth adorn themselves!

He is alone surrounded by the Godhead;

his mansion is in truth an heavenly kingdom,

for not of earthly moulding are these forms!

O spare me, sir!

No further.

Spread no more life's verdant carpet out before my eyes,

remember I am wretched, and a prisoner.

Spread no more life's verdant carpet out before my eyes,

remember I am wretched, and a prisoner.

It looks good on you. Philippe has gone already?

Yes, he's waiting for you down at the café.

By the way, my congratulations, Martine, you were excellent today.

Thank you, Repetos, it's very kind of you.

You know, it's as if Schiller wrote it with you in mind.

I'll be late today. I'm having dinner with an old friend.

- How late? - I'll be back before 2.

Did we do good today?

Ask those eight spectators.

Oh dear, I need to go. I'm late already.

Well?

We flopped.

Pity, even more so, since you look perfect.

You know, even a single spectator would have made me happy.

I'm afraid your friends don't share your opinion.

Especially those of them who finance the show.

What are you going to do now?

Perform in our play.

My offer still stands, you know.

I can find you a very interesting job on the radio.

You'll be able to quit the agency.

And then, the Theatre of the Matters won't last forever.

You're very kind.

But I'm not asking for anything.

I'm sorry, Madame, but this man is dead.

Make me some tea, or I won't be able to sleep.

Victor died right in the middle of the dinner.

"Und so, über Gräber vorwärts!"

What?

"Over the graves then, onwards!" It's from Goethe.

They are cutting our budget for the costumes and the sets.

So much for our historical dramas.

I have to give up my St. Bartholomew's Night.

I'll ask everyone to bring a piece of furniture from home,

find some old clothes and stage only contemporary plays.

We will, of course, have fewer material objects,

but that'll permit us to explore the human body and its matters.

Perhaps even more successfully than before.

Tell it to me tomorrow. I can't listen to you now.

Make me some tea, I want to go to sleep.

Damn!

Tomorrow I'll have Repetos

find me a play with people vomiting.

There have to be stories where people shit their pants out of fear!

It won't be easy to show it on the stage, though.

Dirty dragged herself over to the window.

Beneath her she saw the Thames and, in the background,

some of the most hideous buildings in London,

now magnified in the darkness.

She quickly vomited in the open air.

In her relief she called for me,

and, as I held her forehead I stared at that foul sewer of a landscape:

the river and the warehouses.

In the vicinity of the hotel the lights of luxury apartments loomed insolently.

Gazing out at London, I almost wept, I was so distraught with anxiety.

As I breathed in the cool air, childhood memories - of little girls, for instance,

with whom I used to play at telephone and diabolo -

merged with the vision of the elevator attendant's apelike paws.

What was happening, moreover, seemed to me trivial and somehow ludicrous.

I myself was empty.

I was scarcely even capable of inventing new horrors to fill the emptiness.

I felt powerless and degraded.

It was in this uncompliant and indifferent frame of mind

that I followed Dirty outside.

Dirty kept me going;

nevertheless, I could not conceive of any human creature

being more derelict and adrift.

Great. Make a stage adaptation.

- I haven't finished, there's one paragraph left. - Doesn't matter.

I think everyone got the idea.

As soon as the play is ready

you'll learn your lines and we'll start rehearsing.

One character at a time.

- Mlle Pasquier is here. - Not again...

- Hello. - Hello, Mademoiselle.

- You told me you were destitute. - We are.

So, you're staging a play by Bataille?

No, it's a dramatic version of his "Blue of Noon",

that was prepared by a young writer and that seemed to me

an excellent material for the application

of my theories on the theatre of the matters.

Is theatre a spectacle or literature for you?

What a question to ask.

Coming from Mme Pasquier it doesn't surprise me.

OK...

Hoffmann, Hoffmann...

No, it's "Troppmann, Troppmann".

Troppmann, Troppmann...

Dorothée, your ring is hurting my head.

Don't exaggerate.

And that way the expression of pain on your face would be more natural.

It's a diamond ring.

It doesn't matter: the actress who will play Dirty

doesn't wear a diamond ring.

And there's nothing in the text that proves that she should.

Hermann gave you tomorrow's plan.

Tomorrow I'm playing Dirty handing out money in the hotel.

It would be perfectly logical for her to wear a ring.

What did you mean when you said: "The actress who will play Dirty"?

I meant that Martine will play Dirty.

Let's start again.

As Hermann didn't tell me anything about it, I'm playing her for now.

Troppmann, Troppmann...

You... I need you.

I need to find Difty.

I have something to tell him.

Troppmann!

No, it says here: "voice on the verge of despair".

Troppmann!

That's better.

I need to go. I have a meeting.

Very good, Martine, very good.

Troppmann, Troppmann...

I'm tired of it. Let's leave it till tomorrow.

It was during the horror of the night profound,

my mother, Jezebel, before me stood,

apparelled gorgeously, as on the day of her decease;

misfortunes had not crushed her dignity;

and even she had still that borrowed tint,

with which it was her care to bloom and ornament her countenance,

in order to repair the ravages of years irreparable.

'Tremble, daughter, thou worthy of myself,' to me she said;

'the cruel God of Judah over thee will certainly prevail:

I pity thee, my daughter, falling into His dread hands.'

These fearful words completed,

towards my bed her shadow seemed to bend itself,

and I held out my arms in order to embrace it;

but only found confusion horrible

of mangled bones and flesh dragged in the mud,

and tatters soaked in gore, of hideous limbs,

that dogs, devouring, fought for with each other.

Dear god!

You frightened me.

For a moment I thought you were my boss from the agency.

How did the meeting go?

If we have to go into the sticks to earn some money, we will.

If they want to exile us, we'll go into exile.

Unless you decide to sell your grandmother's diamond.

Of course, this would be a solution.

- Have you checked everything? - Yes.

- Everything is here? - Yes.

No, here's something I found. It's a ring.

- It was lying at the stage entrance. - To the crowns it goes.

What would you do if Hermann disbands the Company?

I'll ask him for a reference letter.

An then, I know someone who can find me a job in the Old Vic in London.

Because, you see, I have no interest in the modern theatre whatsoever.

Badly dressed people walking around some rooms and spouting banalities.

- What would you do? - I got hired as a waiter at a restaurant.

Martine would make a perfect Dirty.

Dorothée will now work as a secretary.

Especially if we're going on a provincial tour.

She's incapable of memorising her lines.

If she would, at least, keep on providing the finances, but even so...

That's true.

- See you tomorrow. - See you tomorrow.

- Shall I now call you "Madame"? - No, we are a modern agency.

Make yourself at home.

- Goodbye. See you tomorrow. - Don't turn off the light.

- Goodbye. - Goodbye, Dorothée, see you tomorrow.

No, they paid for everything. There's no reason to contact the laboratory.

- Dorothée. - Yes?

Mme Nogrette wants to see you in her office.

While the cat's away...

I demand no explanations.

I decided to shut my eyes on yesterday's shameful act.

I won't inform the police.

First of all, out of friendship.

And also, out of respect for your past.

I watched you closely during the war.

I know that you did a lot for the cause of the Resistance.

Back to work.

I was here yesterday and I think I left my snuff box behind.

Have you seen it?

A little tortoiseshell snuff box.

Have you seen a snuff box? Monsieur left it behind yesterday.

A little tortoiseshell snuff box.

No, I don't think so. A moment.

Has anyone seen a little snuff box?

A tortoiseshell snuff box.

You sometimes seem to be dozing off, my poor Dorothée.

Go and get some air, it'll do you good.

The Russian chemists want to sue the agency over the hotel that burned down.

Everything OK?

Here, share it.

No, wait...

You already know that she gives you a twenty

and you count for show.

When you reach ten, give the money to Suzanne

and say your line.

1, 2, 3, 4,

5, 6, 7, 8,

9, 10.

Can we go now?

No, not yet.

Please sit down.

When is she going to urinate?

Hold on...

Listen to me.

I have wonderful news.

We are getting a government grant.

That's great! How much?

We don't know yet.

Let's get back to work. It's going to go livelier now.

Here are the crepes.

Help yourselves.

Christophe.

I'm going to stay at Brigitte's for a while.

We know each other well.

We both tread the boards once.

We'll spend the time reminiscing about our past.