Shadow of the Vampire


Shadow of the Vampire

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Transcript


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This programme contains some strong language.

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Albin, please.

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We'll shoot these scenes in reverse order

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in the unlikely event that Gustav can build emotionally

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with lyricism you'd do well to emulate. Albin, clear the set.

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Roll camera and...

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begin.

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Nice pussy.

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Nice pussy.

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Miaow.

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You're very content, aren't you? You live in a nice house,

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you wear pretty clothes

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and you're married to a kind man who's promised to love you for ever.

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You have no inkling what lives at the bottom of the flower box.

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No sense of longing,

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no notion even of death itself.

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And...

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end. And print it. Have we established pathos?

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Perfectly. In one take.

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Let's get the film to the lab immediately.

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I'll need to see rushes tomorrow.

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Albin?

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-Yeah, Friedrich?

-Hurry and strike your set.

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As you never hesitate to remind me, it's costing a fortune daily.

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Shooting outside the studios will cost too much more, Friedrich.

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But such is the price of genius. Thank God, an end to this artifice!

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Nicely done, Greta.

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You are developing in a number of lovely ways. For a moment,

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I thought I saw a premonition of evil cross your face.

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It wouldn't surprise me with all the spooky shit you've been saying to me.

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It's important for the realistic effect.

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But why must we leave Berlin at the start of the theatre season?

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-Has your man arranged the cars?

-Yes, two.

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Do you have any idea the parts I've been offered at long last? The salaries?

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-Will that be enough?

-It has to be.

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They're the only cars in the region.

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Herr Doctor, you're ignoring me.

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There was a time when you didn't ignore me.

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Why would you possibly want to act in a play when you can act in a film?

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A theatrical audience gives me life

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while this THING takes it from me.

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Greta, Ellen is a woman who discovers

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the ultimate expression of love

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and the most exquisite pain imaginable.

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Does that sound familiar?

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It's a very demanding role.

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It is the role that will make you great as an actress.

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Consider it a sacrifice for your art.

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Work quickly, people. We have a train to catch.

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Albin, what did you give the cat?

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-Laudanum.

-Laudanum?

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It's hard to keep the damn thing docile under the lights. Did it show?

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It looked a little pickled.

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Not as much as Greta.

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Things seem to be well in hand.

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Friedrich?

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Friedrich?

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Friedrich, we have to talk about the vampire.

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Not now, Albin, it's nearly dark.

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Wrap things up for me here.

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Make sure the imbecile Gustav does not miss the train

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and I'll see you all in the morning.

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What kind of clothes should I pack for him? What make-up? How tall is he?

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Please tell me, Friedrich.

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Does anybody know where he's running off to?

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-Perhaps he has a woman.

-Or a man.

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TANGO MUSIC

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We cross the border into Czechoslovakia, a few hours into our journey.

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Herr Doctor's already filmed some of the exteriors there.

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-He has?

-You didn't know?

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No.

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Strange. Well, you can assume we'll be filming all the Hutter scenes there.

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The scenes between him and the vampire?

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Dracula lived in Transylvania.

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Strictly speaking, this is not Dracula.

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The author's widow wouldn't sell us the rights to the novel.

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So, who's playing Count Dracula? I mean Orlock.

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His name's Schreck.

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Max Schreck.

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He was in the Reinhart company when Murnau was directing.

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Schreck? You sure you have the name right?

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-He's a character actor.

-Who told you he was playing the vampire?

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-Herr Doctor told me.

-I never heard of any Max Schreck in that company.

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Herr Doctor told me he was with Stanislasky in Moscow.

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Oh. One of the Russian school.

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As part of his preparation, he submerges his own personality

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into that of the character he plays.

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That is why he is not travelling with us.

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Herr Doctor told me he went to Czechoslovakia weeks ago

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to absorb the flavour of the place, I suppose.

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Herr Doctor also told me that when we get there and start filming,

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Max Schreck will only appear to us in full make-up

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and costume as the vampire.

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And furthermore, we will only film him at night.

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And why wasn't I told about it? I'm the producer.

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Well, he told me.

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Tell me you're not too pretty to work for me.

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-Yes, sir.

-I love the cinema.

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Friedrich, I just realised this morning

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our financiers, they don't know what picture you are making.

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The crew don't know what picture you're making,

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the cast don't know what picture you're making.

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And now, I don't know what picture you're making. Are you happy?

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-Albin...?

-I know, tell them nothing.

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Gentlemen, I'm Albin Grau, producer and art director of this picture.

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Is is true Murnau is filming Stoker's Dracula?

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Friedrich Wilhelm Murnau is Germany's greatest filmmaker.

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In a class with such masters as Griffiths and Eisenstein.

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At present, he is supervising every detail

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of this unique on-location expedition.

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The major part, who's going to play?

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-Thank you, gentlemen.

-Will you be filming in Germany?

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Halt! Halt!

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Our battle, our struggle

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is to create art.

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Our weapon is the moving picture.

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Because we have the moving picture,

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our paintings will grow and recede,

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our poetry will be shadows that lengthen

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and conceal.

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Our light will play across living faces

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that laugh and agonise.

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And our music will linger and finally overwhelm

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because it will have a context as certain as the grave.

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We are scientists engaged in the creation of memories.

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But our memory will neither blur nor fade.

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What is this?

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It looks like blood.

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CAR HORN

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Good evening.

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Herr Doctor,

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-we've been expecting you.

-Will you see to our baggage?

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The wagon train has arrived.

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And here's the late mule.

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Well, what a terrible journey that was.

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How long have you been here?

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-Not long.

-Don't tell me we have a busy schedule tomorrow.

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Gustav, no exterior shots at the end, some shots in here.

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Arrival of Hutter's carriage. Welcome.

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Friedrich, I'd like to plan for these night scenes. When are they to be filmed?

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They will be filmed soon.

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I won't require much planning.

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But I need extra help to set up the lights. Can you give me some notice so I can prepare?

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Herr Doctor, where are the extras?

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You are looking at them.

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-These people cannot act.

-They don't need to act.

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They need to be.

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Wolf?

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Herr Muller?

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HE PANTS

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Sorry, Wolfgang.

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CAR ENGINE

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GASPS AND GRUNTS

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All right, Hutter, it's been a fitful night,

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but you wake refreshed, eager to continue your journey

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to the castle of the nobleman who may very well make your fortune.

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Wait, Gustav. What is that beside you? Yes.

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Pick it up.

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It's a book about vampires.

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Ah! Yes, now you remember.

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It was put there last night by the superstitious peasants,

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the ones who warned you not to enter Orlock's castle.

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The ones who warned you not even to dare to speak his name.

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Nospheratu.

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The unclean, the undead.

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Lest you invoke the creature itself.

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Very good, Gustav.

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-Herr Doctor...

-Albin?

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-I am sorry, Doctor, but...

-Albin!

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-Yeah, Friedrich?

-End.

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Albin, a native has wandered into my frame!

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Come. Come.

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Wolf! Wolf!

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What is the matter with everyone?

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She will not let us go on filming unless we replace the crosses.

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Am I really being bothered with this?

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Herr Doctor, I warned you.

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You should be more concerned about these things.

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The crosses are not for decoration.

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We will put them back. They just overwhelm our composition.

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Albin, the camera.

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We must go. Henrick, what's this scene number?

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-Um, 23.

-Quickly.

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Yes. Albin? That's fine. He'll take care of it.

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Go in, Henrick. On either side, you open the door when I give you the cue.

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Ready? Are we ready?

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And roll camera.

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Iris in.

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And...

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begin. Gustav, you walk in very slowly.

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Very slowly. Yes.

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Feel your bag. Make sure you have your contracts.

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You're afraid.

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Who was the person who brought you?

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You must go into the castle.

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The castle calls you, the gates suddenly open.

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You must go in.

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That's excellent, Gustav.

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Go forward.

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Go forward.

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And...end!

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-Wolf?

-Yeah, it's OK.

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I'm in charge of that construction.

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Who built on this? We have an agreement.

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Albin, Albin, I sent some local workers ahead this morning.

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I'm sorry, I didn't explain to you. There's a generator in the courtyard.

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Just past the tree on the right. Get to work. Henrick, take this camera.

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Stay here for a moment.

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Wolf, your camera's here. Set it up

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as quickly as possible, yes?

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Roll camera.

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Gustav, you move forward very slowly,

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heading always for the tunnel.

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This is perfect. Just a dark hole

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that has been unexplored, untouched

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for a long, long time.

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And then one night...

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something crawls out.

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Hutter...

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meet Count Orlock.

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RUMBLING

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HEARTBEAT

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Gustav, you must follow him into the tunnel.

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Yes, going in.

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Make your way down.

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And...

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end!

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Wolf?

0:21:140:21:15

-HE PANTS

-My god.

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Wolf!

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Got it.

0:21:230:21:24

Remarkable.

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The overture to our symphony of horrors.

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Genius. Hutter, genius.

0:21:310:21:33

He is not from the Reinhart company.

0:21:360:21:38

Hm. Congratulations, Gustav.

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Yes. Yes, I was good, wasn't I?

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I saw his face. His face.

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Where did you find him really?

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In that hole. Gustav,

0:21:570:22:01

-this was your finest moment.

-Good, Gustav.

0:22:010:22:04

Gentlemen, let's pack up. Shooting is completed for the night.

0:22:040:22:08

That's it? We came all the way for one scene?

0:22:080:22:11

I would have driven anywhere at any time for that look of Gustav's.

0:22:110:22:14

I'd like to congratulate Herr Schreck on his appearance.

0:22:140:22:18

For the remainder of the shoot, he will be Count Orlock

0:22:180:22:21

to himself and to all of us.

0:22:210:22:23

Just leave him alone. He will be completely authentic.

0:22:230:22:26

He is not interested in our questions or our prayers or our conversations.

0:22:260:22:30

He's chasing an altogether different ghost.

0:22:300:22:33

Friedrich, come quick. It's Wolf.

0:22:330:22:36

GROANS

0:22:370:22:39

Come on, Wolf.

0:22:520:22:54

-Is my room ready?

-Yes.

0:23:180:23:20

Nospheratu.

0:23:300:23:32

Ah, this is too much.

0:23:320:23:34

Answer me, Herr Doctor, is this some stunt to evoke fear in us?

0:23:340:23:38

Henrick, stop being so theatrical. You'll wake the whole house.

0:23:380:23:42

Go on up, Wolf, and have a brandy. You'll feel better in the morning.

0:23:420:23:45

What's happened?

0:23:470:23:49

He's ill, obviously. Take him upstairs and then go outside

0:23:490:23:52

and help Herr Grau with the camera equipment.

0:23:520:23:56

Bring the camera straight to my room.

0:23:560:23:59

I'll prepare for tomorrow.

0:23:590:24:02

CHATTER

0:24:090:24:11

Albin, we need to clear the table. We'll need the ink well,

0:24:160:24:19

the quill and the contracts.

0:24:190:24:22

I'd like it darker and smokier.

0:24:250:24:28

And move that lamp to the far side.

0:24:290:24:33

And you, spread some dust on the corner.

0:24:330:24:35

GRUNTING AND HEAVY BREATHING

0:24:350:24:38

Ah!

0:24:540:24:57

There you are.

0:24:570:24:59

HE LAUGHS It's incredible, no?

0:24:590:25:03

I wish you could all see your faces.

0:25:030:25:05

Ladies and gentlemen, this is Max Schreck,

0:25:050:25:07

who will be portraying our vampire, Count Orlock.

0:25:070:25:11

As you no doubt have heard, Max's methods are somewhat

0:25:110:25:14

unconventional,

0:25:140:25:16

but I'm sure you will come to respect his artistry

0:25:160:25:21

in this matter. Now,

0:25:210:25:23

Yes...places, everybody.

0:25:230:25:26

Let me have the chair, please. Quickly.

0:25:260:25:29

Count Orlock, you will sit here at the head of the table. Please.

0:25:290:25:33

Very good.

0:25:330:25:35

In this scene, the Count is reading the papers you've brought him

0:25:360:25:40

and you are about to make a considerable amount of money.

0:25:400:25:44

No, no make-up!

0:25:450:25:47

Forgive me, Herr Doctor.

0:25:480:25:50

Albin, clear the set!

0:25:500:25:53

Count, you're reading your documents.

0:26:000:26:02

-That's it.

-It isn't right.

0:26:030:26:06

Well, try acting it, for God's sake.

0:26:060:26:09

What should it say?

0:26:090:26:11

It's meant to be a contract.

0:26:110:26:13

A real estate contract.

0:26:130:26:15

I'd like some make-up.

0:26:170:26:19

Well, you don't get any. Right, are we ready to begin?

0:26:190:26:23

Elke, the phonograph?

0:26:230:26:25

SPEAKS GERMAN

0:26:320:26:35

Iris in.

0:26:350:26:38

And...concentrate.

0:26:380:26:41

Begin.

0:26:420:26:44

Right, Orlock, very good, you're reading your papers.

0:26:440:26:47

Read your papers very intensely.

0:26:480:26:50

After all, how often is it that you get correspondence from the living?

0:26:500:26:55

No, don't look up. Concentrate on your papers.

0:26:550:26:57

Not that you actually care about the details of the contract.

0:26:580:27:02

All you're interested in are all those juicy throats waiting for you

0:27:020:27:07

the moment you get to Germany.

0:27:070:27:09

Now, Hutter, even though it may repel you, creep in,

0:27:110:27:15

creep in. Let us see the expectation on your face.

0:27:150:27:19

You're about to make the biggest sale of your life.

0:27:190:27:22

Point out a few details of the contract. Yes.

0:27:220:27:25

Tell him that's particularly beneficial to you.

0:27:250:27:29

Reach into your bag.

0:27:290:27:31

This will seal the deal and something falls out.

0:27:310:27:35

Count, what is it? On your left on the table.

0:27:350:27:38

It's a locket.

0:27:380:27:40

This is Greta Schroeder.

0:27:460:27:48

-You don't know her.

-You're meant to ask who it is.

0:27:480:27:50

Oh. Oh.

0:27:500:27:52

No. End.

0:28:030:28:05

-Jesus, Max.

-Henrick, can you explain to him?

0:28:060:28:10

-His motivation.

-All right, Count,

0:28:100:28:14

think about this.

0:28:140:28:17

What is it

0:28:170:28:19

that inspires the most longing in you?

0:28:190:28:22

That is most desirable

0:28:220:28:25

and yet most unattainable.

0:28:250:28:28

Delight of the sun.

0:28:280:28:30

That is the emotion. Use it.

0:28:320:28:34

Nospheratu, you read your papers.

0:28:360:28:40

Who is this woman?

0:28:480:28:50

Ellen, my wife.

0:28:500:28:52

She has a beautiful bosom.

0:28:520:28:56

-Oh, Jesus!

-Gustav, snatch it back from him.

0:28:560:28:59

Yes, go on. And vampire, you signed the papers.

0:28:590:29:03

Take your quill, sign the papers.

0:29:030:29:05

Yes, go on.

0:29:050:29:07

I understand

0:29:100:29:12

we are going to be neighbours.

0:29:120:29:16

Very nice addition, Count. Yes.

0:29:230:29:25

And Hutter, how does that make you feel?

0:29:250:29:27

Yes, snatch back your papers. You're happy to be his neighbour?

0:29:270:29:31

And iris out.

0:29:340:29:36

End! Excellent.

0:29:380:29:41

Excellent.

0:29:410:29:44

Give the lip readers a thrill.

0:29:440:29:46

-Wolf, do you have it?

-Yes, I got it.

0:29:480:29:51

-Wolf, have you got it?

-Yes, I said I got it!

0:29:510:29:54

Excellent. Thank you.

0:29:540:29:56

Do you think Schreck is all right? We've left him up at that castle.

0:30:070:30:10

He's not in danger.

0:30:100:30:13

He's a fine actor, but all this preparation,

0:30:130:30:16

it's very strange.

0:30:160:30:18

Strange enough for him to go so deep inside his character

0:30:180:30:21

-that he forgets he is Max Schreck altogether?

-I forgot.

0:30:210:30:25

Schreck's peculiarity is like lovemaking games.

0:30:250:30:28

You believe them when they happen

0:30:280:30:30

but they always stop short of anybody being seriously hurt.

0:30:300:30:34

HEAVY BREATHING

0:30:430:30:45

HE GASPS

0:30:490:30:51

The walls decay.

0:30:570:30:59

The walls decay and fall.

0:30:590:31:03

The vapours reap their burden

0:31:050:31:08

to the ground.

0:31:080:31:10

Dinner?

0:31:110:31:13

You set a very mean table.

0:31:150:31:18

No rats?

0:31:190:31:21

There was a time

0:31:270:31:30

when I fed from golden chalices.

0:31:300:31:35

But now...

0:31:360:31:38

Don't look at me that way!

0:31:380:31:40

In my old age,

0:31:420:31:45

I feed the way old men pee.

0:31:450:31:50

Sometimes all at once,

0:31:510:31:54

sometimes drop by drop.

0:31:560:32:00

I told you,

0:32:020:32:05

I feed erratically.

0:32:050:32:08

Often. Enormously.

0:32:110:32:15

Yes, Max, you may give the locket to Elke.

0:32:190:32:23

Now, Gustav, this is a scene from the previous night.

0:32:230:32:26

You have met your host,

0:32:260:32:28

he has brought you home to his castle, he is giving you dinner.

0:32:280:32:32

You can start eating. Very well. Excellent.

0:32:320:32:35

And Orlock, you're merely reading your papers and totally ignoring your guest.

0:32:350:32:40

Good. Wolf, roll camera.

0:32:410:32:45

And...begin.

0:32:450:32:49

Yes.

0:32:510:32:53

A thought occurs to you.

0:32:540:32:56

Look at your host. Very good, Gustav.

0:32:560:32:59

Do you think he might've been the stranger

0:33:000:33:04

who drove you to the castle?

0:33:040:33:06

You watch. Is he even human?

0:33:070:33:10

How does it feel to be eating next to him...

0:33:100:33:15

knowing that you're spending the night with him

0:33:170:33:20

in the castle alone?

0:33:200:33:22

You watch him. Orlock, drop your paper.

0:33:220:33:26

You look at Gustav.

0:33:260:33:28

Gustav, keep watching him.

0:33:290:33:32

Take your right hand and reach for the bread knife.

0:33:320:33:34

Watch him...breathing.

0:33:340:33:38

What will happen?

0:33:400:33:42

Reach out, take the loaf of bread

0:33:420:33:45

and cut yourself a slice.

0:33:450:33:48

Yes. Slicing. Slicing.

0:33:510:33:53

You're slicing

0:33:530:33:55

towards you. Watching him.

0:33:550:33:59

Slicing. Slicing.

0:33:590:34:01

Watch out. Slicing.

0:34:010:34:04

Watch your... FINGER!

0:34:040:34:06

Look, Nospheratu, blood!

0:34:080:34:10

Blood!

0:34:100:34:12

Stop it! I really did cut myself!

0:34:140:34:17

-Check the generator.

-You did that intentionally.

0:34:170:34:19

That knife was sharp like a razor.

0:34:190:34:21

Gustav, remain in character!

0:34:210:34:24

Jesus Christus, get him off me!

0:34:250:34:28

WOMAN YELLS

0:34:280:34:30

STRAINING Schreck!

0:34:300:34:33

What is the matter with you?

0:34:350:34:37

He's a Stanislasky lunatic!

0:34:370:34:40

I have contracted you in secrecy and at great expense.

0:34:400:34:43

You will not damage this production.

0:34:430:34:45

Herr Muller, when will you have your equipment functioning properly?

0:34:450:34:49

I am tired of your lack of enthusiasm!

0:34:490:34:53

I saw you.

0:34:530:34:55

Gustav, bring the girls to the car.

0:34:550:34:58

-I am not happy.

-Move.

0:34:580:35:00

Herr Doctor, the man is barely breathing.

0:35:000:35:03

I told you to fix the generator!

0:35:040:35:06

No, leave the equipment and take the camera.

0:35:060:35:09

-We are done here for today.

-Albin!

0:35:090:35:11

Everybody to the automobile!

0:35:110:35:14

Herr Doctor, we're leaving. Schreck?

0:35:140:35:16

No. No, he stays.

0:35:160:35:20

Albin?

0:36:520:36:54

HE 'SIGHS

0:37:020:37:04

-Yes, Friedrich?

-Do you think Wolf's assistant can finish this film?

0:37:060:37:09

Paul? No, he has not enough experience.

0:37:090:37:13

What about you?

0:37:140:37:16

You are the closest we have to a photographer.

0:37:160:37:19

What are you talking about? The film ends here.

0:37:190:37:23

No, Henrick, this film will go on.

0:37:230:37:25

This film cannot survive even the briefest interruption.

0:37:250:37:29

The financiers would take control. They hate your script.

0:37:290:37:33

It may be advantageous because it makes the crew very edgy and I like that.

0:37:340:37:38

Do you hear what you are saying? You're out of your fucking mind! You're a fanatic!

0:37:380:37:42

Please don't behave like children, Henrick!

0:37:420:37:45

I'll get a new photographer and fly him back here within the week.

0:37:470:37:51

Henrick, when you wrote this scenario,

0:37:510:37:54

you had demons of your own to work out, did you not?

0:37:540:37:57

Now I have mine.

0:37:570:37:59

Albin, you're the producer.

0:38:010:38:04

Keep this company together.

0:38:040:38:06

HEAVY BREATHING

0:38:190:38:21

How dare you! How dare you destroy my photographer!

0:38:260:38:30

You idiot!

0:38:300:38:32

Did I kill some of your people, Murnau?

0:38:320:38:36

I can't remember.

0:38:360:38:39

We have an arrangement.

0:38:390:38:41

Don't pretend you mourn, Herr Doctor. I know you.

0:38:410:38:45

Why him, you monster?

0:38:490:38:52

Why not the script girl?

0:38:520:38:55

HE CHUCKLES

0:38:550:38:57

The script girl.

0:38:570:39:00

I'll eat her later.

0:39:000:39:02

No, you will not. Our bargain. You agreed not to hurt my people!

0:39:020:39:07

Listen to me. This requires that I go back to Berlin

0:39:090:39:14

to find another photographer and then to fly him back here. And you,

0:39:140:39:18

you will control yourself while I'm away.

0:39:180:39:21

I don't think we need the writer any longer.

0:39:230:39:27

I don't expect you to understand this

0:39:310:39:33

and I am loathe to admit it myself,

0:39:330:39:37

but the writer is necessary.

0:39:370:39:40

All my crew is necessary.

0:39:400:39:42

Do you understand?

0:39:420:39:45

I don't think the ship is necessary.

0:39:470:39:50

-What?

-The ship.

0:39:530:39:55

The ship? My god, what are you talking about?

0:39:580:40:03

I have a dozen scenes on the ship.

0:40:040:40:07

But I won't sail.

0:40:070:40:10

Then I will replace you with a double!

0:40:120:40:14

I will do every scene of yours with a double!

0:40:140:40:17

You, you will have no close-ups. None whatsoever.

0:40:170:40:20

How dare you speak to me that way!

0:40:200:40:23

I have shots! I am the director!

0:40:230:40:26

HE HISSES

0:40:260:40:28

Why didn't you mention this before?

0:40:280:40:32

You want to eat the writer?

0:40:360:40:38

Be my guest. That will leave you to explain

0:40:380:40:41

how else your character is supposed to get to Bremen!

0:40:410:40:44

Yes. I will...

0:40:490:40:53

shoot the scenes at sea around you,

0:40:530:40:55

but you will still have to sail to Heligoland for your death scene.

0:40:550:41:00

Or else what?

0:41:020:41:04

Or else?

0:41:040:41:06

Or else no Greta.

0:41:070:41:09

We shoot her scenes there.

0:41:090:41:12

I'll go to Heligoland.

0:41:200:41:23

But I won't sail.

0:41:230:41:25

Heligoland is an island.

0:41:250:41:28

-So?

-So, it can only be reached by sea.

0:41:280:41:32

Or air.

0:41:330:41:35

And if I agree to fly you in,

0:41:450:41:48

you will leave my people alone?

0:41:480:41:52

Or else what?

0:41:520:41:54

Don't think I can't harm you.

0:41:540:41:56

Tell me how you would harm me...

0:41:560:41:59

when even I don't know how I could harm myself.

0:42:000:42:04

Indignant work devils

0:42:360:42:40

beat me down

0:42:400:42:42

and marred and wasted me.

0:42:420:42:45

And though they could not end me,

0:42:460:42:51

left me maimed to dwell in presence of immortal youth.

0:42:510:42:56

Immortal age beside immortal youth.

0:42:590:43:03

And all I was in ashes.

0:43:060:43:08

Albin, what is the most wondrous thing you have ever seen?

0:43:510:43:57

Er, I saw...

0:43:570:43:59

ectoplasm once.

0:43:590:44:01

Ectoplasm? What is ectoplasm?

0:44:010:44:03

It's the mystical substance of ghosts.

0:44:030:44:07

I saw a spiritualist pull it out of his mouth in Italy.

0:44:070:44:11

What did it look like?

0:44:110:44:13

Seaweed.

0:44:130:44:15

Is that what we look like when we die?

0:44:150:44:18

I hope not.

0:44:180:44:21

What was for you the most wondrous thing you ever saw?

0:44:210:44:26

I once saw Greta Shroeder naked.

0:44:280:44:30

-No!

-Yes.

0:44:300:44:32

That beats ectoplasm.

0:44:320:44:34

Jesus, Max!

0:44:340:44:36

You scared me to death.

0:44:360:44:38

How long have you been listening?

0:44:380:44:40

We've been looking all over the place for your coffin.

0:44:400:44:44

Maybe it isn't his resting place.

0:44:440:44:46

Didn't we have something to say to him?

0:44:490:44:52

Max? The great Friedrich Wilhelm Murnau

0:44:540:44:58

went to Berlin to find a new photographer.

0:44:580:45:01

Wolf is probably dead.

0:45:010:45:03

So, you can take your funny ears off.

0:45:030:45:05

Alb, please, the man is an artist.

0:45:050:45:08

Ask him some vampire questions.

0:45:080:45:10

When did you become a vampire?

0:45:100:45:13

I can't recall.

0:45:130:45:16

Where were you born? No, WERE you born?

0:45:160:45:18

I can't remember.

0:45:180:45:22

It's not funny any more.

0:45:220:45:24

Come on, Count Dracula wouldn't say he couldn't remember.

0:45:240:45:28

I read that book.

0:45:280:45:30

Murnau gave it to me.

0:45:300:45:32

This is a golden opportunity. Speaking as a vampire,

0:45:350:45:38

what do you make of the book's technical merits?

0:45:380:45:41

It made me sad.

0:45:410:45:44

Why sad?

0:45:440:45:46

Because Dracula had no servants.

0:45:460:45:49

I think you missed the point of the book, Count Orlock.

0:45:490:45:54

Dracula hasn't had servants in 400 years

0:45:540:45:57

and then a man comes to his ancestral home

0:45:570:46:00

and he must convince him that he,

0:46:000:46:04

that he's like the man.

0:46:040:46:06

He has to feed him

0:46:060:46:08

when he himself hasn't eaten food in centuries.

0:46:080:46:12

Can he even remember how to buy bread?

0:46:120:46:17

How to select cheese and wine?

0:46:170:46:20

And then he remembers the rest of it.

0:46:200:46:24

How to prepare a meal, how to make a bet.

0:46:240:46:28

He remembers his past glory.

0:46:280:46:32

His armies, his retainers,

0:46:320:46:35

and what he is reduced to.

0:46:350:46:38

The loneliest part of the book comes

0:46:400:46:45

when the man accidentally...

0:46:450:46:49

sees Dracula setting his table.

0:46:490:46:53

But if you're so lonely, why don't you make more vampires?

0:46:580:47:03

I can't. I'm too old.

0:47:050:47:07

Although, I seem to remember

0:47:100:47:13

I was never able to.

0:47:130:47:16

-Then how did YOU become a vampire?

-It was woman.

0:47:160:47:20

Now we're getting somewhere.

0:47:200:47:24

Schreck, the German theatre

0:47:350:47:38

needs you.

0:47:380:47:40

We got together in the night

0:47:420:47:44

and then she left me.

0:47:440:47:46

At first, I had a painting of her in wood,

0:47:460:47:50

then I had a relief of her in marble

0:47:500:47:52

and then I had a picture of her

0:47:520:47:56

in my mind.

0:47:560:47:59

But now, I no longer even have that.

0:47:590:48:01

That's what they think.

0:48:060:48:08

The schnapps they make in these parts...

0:48:140:48:17

I haven't tasted it in...

0:48:200:48:24

Take it easy there, old boy.

0:48:260:48:28

Henrick, what an actor.

0:48:410:48:45

Dedication.

0:48:480:48:50

You, Schreck.

0:48:570:48:59

GROANING

0:49:060:49:09

Herr Doctor!

0:49:430:49:45

Herr Doctor!

0:49:470:49:49

You wanted reality. Here it is.

0:49:490:49:51

I'm not a doctor, but I have dabbled in pharmaceuticals.

0:49:510:49:55

You're the new cameraman? We're trying to shoot it now.

0:49:550:49:58

-Ah, good.

-Art can never move as fast as life, huh?

0:49:580:50:00

Ah, sure it can.

0:50:000:50:02

So, what's the lens?

0:50:020:50:05

It's 35mm, sir.

0:50:050:50:07

Not my ideal weapon of choice, but it'll do. Are you loaded?

0:50:070:50:10

-Yes, sir.

-Good, so am I.

0:50:100:50:12

Move the camera 10cm to the right and I'll contrive a two-shot, but wait for my signal.

0:50:120:50:17

SPEAKS FOREIGN LANGUAGE

0:50:220:50:25

-Did you get that shot?

-Yes, sir.

0:50:250:50:27

-And the gate is clean?

-The gate's clean, sir.

0:50:270:50:29

I hadn't time to properly prepare the shot. What I should've done

0:50:320:50:36

was film the thing in slow motion.

0:50:360:50:38

It would've been incredibly moving.

0:50:380:50:40

What's slow motion?

0:50:400:50:42

I run the film through the camera too fast, then when it's projected at normal speed,

0:50:420:50:47

things appear to be unnaturally slow.

0:50:470:50:49

Gives everything a kind of resonance.

0:50:490:50:52

It's a shame you won't have a chance to demonstrate your more esoteric skills on my production.

0:50:520:50:59

I'm Albin Grau, the producer.

0:51:000:51:03

And at dawn, Hutter tried to fathom the horrors of his nights.

0:51:030:51:08

Excellent. Fritz, roll camera.

0:51:080:51:12

Iris in.

0:51:180:51:20

Begin.

0:51:230:51:25

And end.

0:51:490:51:51

Excellent, Gustav.

0:51:510:51:53

Extraordinary discipline in the face of ridicule. Fritz?

0:51:530:51:56

Yes, well, that's his performance style.

0:51:580:52:00

I'd like to move in for another angle on the crypt, please.

0:52:000:52:04

Mark the shutter with some chalk.

0:52:040:52:07

Well, I am exhausted now and I'm hungry as well.

0:52:070:52:10

You will get a nice hot meal after we're done with the ship.

0:52:100:52:14

And end.

0:52:430:52:46

Have you ever considered acting?

0:53:450:53:48

-Really. You have a very interesting face.

-Are you a producer?

0:53:480:53:53

Why can't Herr Doctor film in a studio like everybody else?

0:53:530:53:56

Henrick, would you take my dog for me? Choo-Choo.

0:53:560:54:01

Oh, and thank you. Fou-Fou. Lovely.

0:54:010:54:04

Wismar. Is there anything here that even vaguely resembles a cabaret?

0:54:040:54:10

I'm suffering for my art, Albin, believe me.

0:54:100:54:13

Melodrama. I mean, what's going on here anyway?

0:54:130:54:16

Friedrich tells me to lock my door at night

0:54:160:54:19

and Gustav says everybody's vanishing.

0:54:190:54:22

Oh, and you can imagine what they're saying in Berlin.

0:54:220:54:26

Hello, Greta.

0:54:260:54:27

Hello.

0:54:270:54:29

You look...vaguely familiar. Where did we meet?

0:54:310:54:34

Morocco.

0:54:340:54:37

Ah, yes, of course, you brought me treats.

0:54:370:54:41

-What was your name again?

-It's...

0:54:420:54:45

Er... Fritzy!

0:54:470:54:49

-Ia, ia, Fritzy.

-Fritzy.

0:54:490:54:52

Fritzy. Would you care to join us for a drink?

0:54:520:54:56

No, no, no, we have to pre-light the set.

0:54:560:55:00

What? What set?

0:55:000:55:02

What the hell are you talking about?

0:55:020:55:04

We need you to see the sets with us tonight.

0:55:040:55:07

Well, give me back my dogs then.

0:55:070:55:10

-Thank you.

-You're welcome.

0:55:120:55:14

Left all alone, as usual.

0:55:140:55:17

Come here, Fou-Fou.

0:55:170:55:19

She's here, isn't she?

0:55:350:55:37

The glorious child.

0:55:370:55:40

-No.

-I want to see her now.

0:55:440:55:46

-No!

-I won't act for you again

0:55:460:55:49

until you bring her to me.

0:55:490:55:51

You are destroying everything.

0:55:510:55:54

My people have to trust me for you to get what you want.

0:55:540:55:58

You and I are not so different.

0:55:580:56:02

Greta is in your last scene.

0:56:040:56:06

That is when you can have her.

0:56:060:56:09

-After my death scene?

-Yes.

0:56:090:56:11

Don't expect realism there, Murnau.

0:56:110:56:14

-What do you mean?

-Don't cheat me.

0:56:140:56:18

You will stay away from her.

0:56:180:56:21

You will stay away from my crew!

0:56:210:56:24

I will finish my picture!

0:56:240:56:26

This is hardly your picture any longer.

0:56:270:56:30

LAUGHTER

0:57:030:57:05

-You're ready?

-Yes, Henrick.

0:57:070:57:10

Oh, mind your head.

0:57:260:57:28

This is it.

0:57:320:57:35

-He's in here?

-Yeah.

0:57:350:57:37

Are you sure?

0:57:370:57:39

Well, that answers that question.

0:57:470:57:49

How did you find this place?

0:57:490:57:52

I followed Murnau here.

0:57:520:57:55

I think you are in the wrong part of the building.

0:57:550:57:58

There's probably a sadistic brothel upstairs.

0:57:580:58:01

WOMAN SCREAMS

0:58:190:58:21

Aaaaarrrgh!

0:58:270:58:29

-What's wrong?

-It's all right.

0:58:330:58:36

Everyone back to bed.

0:58:360:58:38

Greta! Greta, what is it?

0:58:390:58:42

Greta, what is it?

0:58:420:58:44

Greta. Greta.

0:58:440:58:47

What's happened, Greta?

0:58:470:58:50

-It's morphine.

-Morphine?

0:58:500:58:53

Photography and pharmaceuticals.

0:58:560:58:59

Fritzy, that's just what I need.

0:58:590:59:01

-Friedrich knows all about it.

-What do you mean?

0:59:010:59:04

He knows all about it. She's fine. Get some sleep.

0:59:040:59:08

GRETA LAUGHS

0:59:120:59:15

Are you all right there?

1:00:061:00:08

This set is not ready.

1:00:401:00:42

Can we get any natural light in here?

1:00:441:00:46

The set is not ready and you're talking about natural light. Please.

1:00:461:00:51

What's the matter with you?

1:00:521:00:54

You seem a little anxious lately.

1:00:541:00:57

You don't understand. I'm ruined. I'll never make another picture again.

1:00:571:01:01

My reputation - gone, and you talk about natural light. Please.

1:01:011:01:05

Don't worry. It's the same on every picture.

1:01:051:01:09

Not on MY picture!

1:01:091:01:11

Friedrich! Open up!

1:01:481:01:51

MUFFLED GROANS

1:01:511:01:53

It's me, Albin.

1:01:551:01:57

Friedrich, let us in.

1:01:591:02:01

Jesus.

1:02:071:02:09

-What is it?

-It's laudanum.

1:02:171:02:20

There is no Max Schreck.

1:02:201:02:23

If he's not Max Schreck,

1:02:281:02:31

who is he?

1:02:311:02:33

I don't know.

1:02:341:02:36

Well, where did you find him?

1:02:361:02:39

In a book when I was a student.

1:02:391:02:43

A series of paintings portraying a long line of despotic kings

1:02:441:02:50

who were meant to be vampires

1:02:501:02:52

living in Slovakia for hundreds of years.

1:02:521:02:56

I had forgotten all about it until she gave me the other book.

1:02:571:03:02

-What other book, Friedrich?

-Dracula.

1:03:021:03:05

Then I went to scout the locations...

1:03:051:03:08

and there he was, living in an old monastery.

1:03:101:03:14

What kind of bargain did you make with him?

1:03:151:03:18

That he would play the part of an actor

1:03:181:03:22

playing the part of a vampire.

1:03:221:03:24

Why?

1:03:251:03:27

What did you offer him in return?

1:03:271:03:30

Everlasting life.

1:03:321:03:34

And Greta.

1:03:361:03:38

Greta? How could you do this, Friedrich?

1:03:391:03:43

I did it for science.

1:03:431:03:47

To preserve it for posterity.

1:03:481:03:50

Friedrich! Friedrich!

1:03:521:03:55

He's gone. Come on.

1:03:581:04:01

What are we going to do?

1:04:041:04:06

The call is for two o'clock.

1:04:061:04:08

Albin, listen to me.

1:04:291:04:32

There's no way off this island.

1:04:341:04:36

-What about the aeroplane?

-No, no, I already checked.

1:04:361:04:40

The fuel tanks are empty.

1:04:411:04:43

God.

1:04:431:04:45

No...

1:04:451:04:47

we're going to have to film Schreck's scene tonight.

1:04:481:04:51

WAVES CRASH

1:04:551:04:57

You know I don't like these late shoots, Friedrich.

1:04:591:05:02

Where is everybody? Why don't I have an assistant?

1:05:021:05:06

Greta...

1:05:061:05:08

did you put on this make-up with a broom?

1:05:091:05:11

-Stop fussing, Albin.

-You look beautiful.

1:05:111:05:14

-Can I have a cigarette?

-Sure.

1:05:141:05:16

Where's my script? Henrick?

1:05:181:05:20

-He's indisposed.

-What's the matter with him?

1:05:201:05:23

Don't ask so many questions. We're busy.

1:05:231:05:25

Thank you, darling.

1:05:291:05:31

Why does everybody look so depressing?

1:05:331:05:36

Hey, who died?!

1:05:381:05:40

Jesus, look at you.

1:06:171:06:20

Friedrich?

1:06:251:06:27

-Herr Doctor!

-Yes, Greta, what is it?

1:06:281:06:32

Yes, what is it? What's the shot? What are we doing here?

1:06:321:06:36

Can you stand for me?

1:06:391:06:42

Look at you. Yes.

1:06:431:06:46

Very well.

1:06:461:06:48

Now, let us take her robe, Albin. Please.

1:06:481:06:51

And she'll need her wooden stake.

1:06:541:06:57

Also Greta, you will be here, lying on the bed.

1:06:591:07:02

Yes.

1:07:041:07:06

Here.

1:07:061:07:08

Now, in this scene,

1:07:171:07:19

you make the ultimate sacrifice for love. Yes?

1:07:191:07:24

Yes.

1:07:241:07:26

You will seduce the Count

1:07:261:07:29

and with your wooden stake,

1:07:291:07:32

just before you die,

1:07:321:07:34

you will dispatch him. Yes?

1:07:341:07:36

Very good.

1:07:361:07:39

Er, in other words, all you have to do

1:07:401:07:42

is, as they say, relax

1:07:421:07:45

and the vampire will do all the work.

1:07:451:07:48

You had me leave rehearsals in Berlin just to do that?

1:07:481:07:52

Hey! Watch it, handsome.

1:07:531:07:55

And for your lean-in, please, Herr Schreck.

1:08:011:08:04

Thank you.

1:08:041:08:07

And Albin, her shoes, please.

1:08:101:08:12

We must go aboard.

1:08:141:08:16

-Friedrich?

-Yes?

1:08:161:08:19

I don't wish to question your authority,

1:08:191:08:21

but are you sure you know what you are doing?

1:08:211:08:24

Yes, exactly. Roll camera.

1:08:241:08:26

And Fritz, ready?

1:08:261:08:28

Higher.

1:08:281:08:30

And...iris in. SHE SCREAMS

1:08:331:08:36

-What happened?

-I saw... He...

1:08:381:08:41

Calm down.

1:08:411:08:44

He casts no reflection.

1:08:441:08:46

-Calm down, Greta.

-No, look at him!

1:08:461:08:49

Look at him! Look!

1:08:491:08:52

Please help me! Help me, please, Friedrich!

1:08:521:08:55

-I'll give you something to calm you.

-No, don't do that.

1:08:551:08:58

Albin, look at him, please!

1:08:581:09:01

Please! Please!

1:09:011:09:04

No!

1:09:041:09:05

No! I don't understand

1:09:051:09:09

what... No!

1:09:091:09:11

It is the role that will make you great as an actress.

1:09:211:09:24

Consider it a sacrifice for your art.

1:09:301:09:34

That's better. Now we can work in peace.

1:09:401:09:43

HE PANTS

1:09:461:09:48

I want her now.

1:09:571:09:59

No, I need a shot of you clutching your heart first.

1:09:591:10:03

-My death scene?

-Yes.

1:10:031:10:05

You must do that for me.

1:10:051:10:07

Very well.

1:10:091:10:11

Roll camera and begin.

1:10:121:10:15

Yes, Count. You kneel down. We'll have your head on her shoulder,

1:10:171:10:21

but you're not feeding, Count.

1:10:211:10:24

No, you're not drinking her blood now

1:10:261:10:29

because you have been drinking her blood all night.

1:10:291:10:33

In fact, you can barely move.

1:10:331:10:36

You are intoxicated

1:10:381:10:41

with blood and desire.

1:10:411:10:44

Greta, can you hear me?

1:10:441:10:46

SHE GRUNTS Yes?

1:10:461:10:48

Flutter your eyelids.

1:10:481:10:51

Yes. Now, Greta...

1:10:511:10:53

you start to awaken.

1:10:531:10:56

Find your stick.

1:10:561:10:59

Yes, where is it? Find your stake.

1:10:591:11:02

Count, as she raises her stake, what do you see?

1:11:031:11:06

Yes. Yes.

1:11:061:11:09

A wooden stake. Exactly. You look at her.

1:11:091:11:12

Betrayed. Yes, you turn.

1:11:121:11:15

You rise. You look around.

1:11:151:11:18

The sun is coming. You grab your heart

1:11:181:11:22

in anguish.

1:11:221:11:24

Yes, and you start to die.

1:11:241:11:27

Yes, you start to die. Alone in anguish. Die!

1:11:271:11:31

You fucking rat bastard

1:11:311:11:33

vampire pig! Shit!

1:11:331:11:36

Yes, die alone! The weight of the centuries bends you!

1:11:361:11:41

And...end!

1:11:411:11:44

-Fritz?

-Ia, got it.

1:11:471:11:50

That's enough, Murnau.

1:11:501:11:52

-Hey!

-OK, ia.

1:11:561:11:59

-I want her now!

-Herr Schreck...

1:11:591:12:02

-Bitte.

-Go to hell, Murnau!

1:12:031:12:06

Begin!

1:12:061:12:08

GRETA GROANS

1:12:131:12:17

Very good. Yes.

1:12:351:12:37

Now slowly move the camera.

1:12:371:12:40

HE SNORES

1:13:011:13:03

(Friedrich, he's sleeping. How can I get the best camera angle?)

1:13:101:13:15

He cut the chain! We're trapped!

1:13:371:13:39

So, you would break our bargain?

1:13:471:13:51

You think you know so much,

1:13:531:13:56

but I can still kill you.

1:13:561:13:59

I can break your neck.

1:14:001:14:03

Drink your blood, and I can...

1:14:051:14:07

You tried to trick me.

1:14:091:14:11

It's daybreak, is it?

1:14:151:14:18

So what? All I need

1:14:181:14:21

is to sleep in darkness.

1:14:211:14:25

I will stay here until dusk.

1:14:251:14:28

And then, only I...

1:14:281:14:32

will walk out alive.

1:14:321:14:35

Idiot!

1:14:411:14:43

Frankly, Count, I find this composition unworkable.

1:15:071:15:11

Could you return to your original mark, please?

1:15:111:15:15

If it's not in frame, it doesn't exist.

1:15:301:15:35

SHE WHIMPERS

1:15:591:16:01

DISTANT VOICES

1:16:231:16:25

BANGING

1:16:271:16:30

Then, finally, you must turn to meet the sun.

1:17:071:17:11

The death of centuries, moon chaser, blasphemor,

1:17:131:17:17

monkey,

1:17:171:17:19

vase of pre-history,

1:17:191:17:21

finally to earth

1:17:211:17:24

and finally born.

1:17:241:17:26

Yes. Yes.

1:17:261:17:28

Yes.

1:17:291:17:31

You take the sun. Albin, could you quickly collect

1:17:311:17:36

the wooden stake and return it to its rightful place? It is necessary for the final frame

1:17:361:17:41

to remind us of the inadequacy of our plans.

1:17:411:17:44

Our contingencies, every missed train,

1:17:441:17:48

the failed picnics, every lie to a child.

1:17:481:17:51

Aaaaaaaaarrrrgghh!!

1:18:001:18:02

Softly, please.

1:18:181:18:21

Our work is nearly complete.

1:18:211:18:23

Our very own painting on our very own cave wall.

1:18:241:18:28

Time will no longer be a dark spot on our lungs.

1:18:281:18:33

They will no longer be able to say

1:18:331:18:36

you would have to have been there...

1:18:361:18:38

because the fact is, Albin,

1:18:401:18:42

we were.

1:18:421:18:44

Is there one among you who might wear the mantle of camera assistant?

1:18:461:18:50

Could I possibly impose on you to collect a slate at my feet

1:18:561:19:00

and provide me with an end board?

1:19:001:19:02

Turn it.

1:19:101:19:12

Thank you.

1:19:291:19:31

I think we have it.

1:19:331:19:35

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