Clouds of Sils Maria

0:00:02 > 0:00:05This film contains very strong language.

0:00:38 > 0:00:40TRAIN CLATTERS

0:00:40 > 0:00:42Maria Enders will not be doing Jakarta.

0:00:42 > 0:00:45Or Lima. No, no.

0:00:45 > 0:00:48Yes, it's OK on the Annie Leibovitz shoot, but just for that one day.

0:00:48 > 0:00:50And in New York, like we agreed.

0:00:51 > 0:00:55Yes, I know it'll be tight. I'm sorry about that.

0:00:55 > 0:00:57Hey, you're...you're going to have to excuse me.

0:00:57 > 0:00:58I have to jump on another call.

0:00:58 > 0:01:02Get back to me by tomorrow. All right? OK.

0:01:02 > 0:01:04Hello?

0:01:04 > 0:01:06Yes, this is Valentine, Maria pers...

0:01:06 > 0:01:08Maria Enders' personal assistant.

0:01:13 > 0:01:16Yeah, we received the date of the hearing, but she will not be in Paris that day.

0:01:16 > 0:01:19We've told the lawyer two times.

0:01:21 > 0:01:25She's the one who filed for divorce. Why would she be holding things up?

0:01:25 > 0:01:27That's... That's ridiculous.

0:01:29 > 0:01:30OK, well, we're going to...

0:01:30 > 0:01:32Hell... Hello?

0:01:32 > 0:01:35- TRAIN CLATTERS LOUDLY - I'm sorry, we're on a...

0:01:37 > 0:01:39MOBILE RINGS

0:01:39 > 0:01:41Hello?

0:01:41 > 0:01:43I'm sorry. I can barely... W-We're just... We're...

0:01:43 > 0:01:46We're on a train and I'm not sure if I...

0:01:46 > 0:01:47Fuck!

0:01:49 > 0:01:51MOBILE RINGS

0:01:51 > 0:01:53Hello?

0:01:54 > 0:01:57No, I still can't... I'm...

0:01:57 > 0:02:00We're in the Alps. There's a tonne of mountains and tunnels and I...

0:02:00 > 0:02:02Yeah.

0:02:07 > 0:02:09Did you read this article about Google

0:02:09 > 0:02:13and users' private information? It's disgraceful.

0:02:13 > 0:02:15- They're too powerful.- Thanks.

0:02:15 > 0:02:16So, I have no service in here

0:02:16 > 0:02:18because of all the tunnels, but I did reach Gwen.

0:02:18 > 0:02:21She said that she's going to take the X-Men thing off of IMDb.

0:02:21 > 0:02:24I did one. That was enough. No way am I playing Nemesis again.

0:02:24 > 0:02:26Well, they have to do it now because

0:02:26 > 0:02:28everyone's blogging about it already.

0:02:28 > 0:02:30Yeah. I'm sick of acting hanging from wires

0:02:30 > 0:02:32in front of green screens.

0:02:32 > 0:02:34I've outgrown it.

0:02:34 > 0:02:36Fans are going to be devastated.

0:02:36 > 0:02:38Oh, did you speak to, um... What's his name?

0:02:38 > 0:02:41- Um... Urs...Urs Kobler? - Yeah, I did.

0:02:41 > 0:02:42Is the agenda set for tonight?

0:02:42 > 0:02:45Yeah, you're all set. You have just the three interviews.

0:02:45 > 0:02:48And then it's the presentation of the award and the official dinner.

0:02:48 > 0:02:50He's going to meet us at the train station in Zurich

0:02:50 > 0:02:53to take us to the Dolder...Dolder.

0:02:53 > 0:02:55That's where you wanted to stay, right?

0:02:55 > 0:02:58- I've written a first draft. Want to hear it?- Sure.

0:03:03 > 0:03:05READS: I'm very honoured that Wilhelm Melchior asked me

0:03:05 > 0:03:08to accept the prize you're awarding him tonight.

0:03:08 > 0:03:12As you all know, he decided a long time ago to stay away from all public events.

0:03:12 > 0:03:16Not because he's shy or proud. He's a modest and generous man.

0:03:16 > 0:03:20But he insists on protecting the peace and quiet he needs to write.

0:03:20 > 0:03:25I wish that I could promise you all that I myself will place this prize in his hands.

0:03:25 > 0:03:27But Wilhelm has forbidden me to do so.

0:03:27 > 0:03:30He asked me to join him tomorrow in Sils Maria,

0:03:30 > 0:03:32where he lives for part of the year,

0:03:32 > 0:03:34but on one condition - that I come empty-handed.

0:03:37 > 0:03:40If I'm here tonight, it's because I owe everything to him.

0:03:40 > 0:03:44He chose an unknown 18-year-old actress for the lead in the play

0:03:44 > 0:03:46you all know, Maloja Snake,

0:03:46 > 0:03:48and then for the film.

0:03:48 > 0:03:51That unknown actress who played Sigrid was me.

0:03:51 > 0:03:54In two months of shooting he gave me everything I needed to bui...

0:03:54 > 0:03:57build a career on - my career.

0:03:57 > 0:04:00Up to here it's fine. And then it's all downhill.

0:04:00 > 0:04:02Just fragments.

0:04:03 > 0:04:05You want me to finish it for you?

0:04:05 > 0:04:07No, I'm the one who has to pay tribute to him.

0:04:07 > 0:04:10I have to find my own words. If I'm stuck, I'll ask you. OK?

0:04:14 > 0:04:16Mappy says it's going to take two and a half hours

0:04:16 > 0:04:18to get to Sils Maria from Zurich.

0:04:18 > 0:04:19We have a driver.

0:04:19 > 0:04:24Um, also, I texted Wilhelm's wife. She hasn't got back to me yet.

0:04:25 > 0:04:26That's not like Rosa. MOBILE RINGS

0:04:26 > 0:04:29You sure I gave you the right number?

0:04:29 > 0:04:32I have to take this.

0:05:29 > 0:05:31MOBILE RINGS

0:05:31 > 0:05:34I know. I heard. Just a second ago.

0:05:34 > 0:05:38Um, I know, I know. I haven't told her yet, but, um...

0:05:38 > 0:05:41As soon as I can, OK? I got it. Yeah, yeah.

0:06:12 > 0:06:14Yeah...

0:06:14 > 0:06:16Yeah, there's really nothing on the net yet.

0:06:16 > 0:06:19Just this press release and, um...

0:06:20 > 0:06:22..comments.

0:06:22 > 0:06:24What kind of comments?

0:06:24 > 0:06:28You don't want to know. They're stupid. It just says, you know...

0:06:29 > 0:06:32Zorglub228 - "I thought he died a while ago.

0:06:32 > 0:06:35"Besides, he hasn't written anything of interest in 20 years."

0:06:35 > 0:06:38Wiseguy666 - "The media pays too much attention to writers.

0:06:38 > 0:06:41"People die all over the world and no-one ever mentions them."

0:06:42 > 0:06:45Zohrarose didn't know who this guy was

0:06:45 > 0:06:48but offers her condolences to the family.

0:06:51 > 0:06:54So, I spoke to Urs Kobler and we cancelled the press, obviously.

0:06:54 > 0:06:57I'm going to work it out when we get in tonight.

0:06:57 > 0:07:00It's going to be really...different.

0:07:00 > 0:07:02It'll be gloomy.

0:07:02 > 0:07:04Official and stiff.

0:07:04 > 0:07:06Everything Wilhelm hated.

0:07:06 > 0:07:08Yeah, and people are going to be sad.

0:07:08 > 0:07:10What do you expect? He's...

0:07:11 > 0:07:13He's dead.

0:07:13 > 0:07:16If I wanted to be true to him, I'd turn around and go home.

0:07:16 > 0:07:19You'll find the words once you're there. I think they'll come naturally.

0:07:19 > 0:07:22I think... You know...

0:07:22 > 0:07:24Who could do him justice better than you? A stranger?

0:07:26 > 0:07:28You love him. It's different.

0:07:29 > 0:07:31I love him.

0:07:33 > 0:07:35I know so little about him.

0:07:35 > 0:07:37MOBILE RINGS

0:07:37 > 0:07:40You kn... You know what I mean.

0:07:40 > 0:07:42If you want to be true to him,

0:07:42 > 0:07:44you have to be there.

0:07:47 > 0:07:48Hello.

0:07:51 > 0:07:53Um, sure.

0:07:53 > 0:07:57Yeah, we're on a train, so we might lose you, but I'll ask her.

0:07:58 > 0:07:59OK.

0:08:00 > 0:08:03- It's France Inter.- Oh, God.

0:08:06 > 0:08:08You kind of have to. I'm sorry.

0:08:22 > 0:08:25MOBILE RINGS

0:09:07 > 0:09:10- Rosa just called. - I'll call her right back.

0:09:10 > 0:09:12She's actually not going to be available till tonight.

0:09:12 > 0:09:16She's really busy. She still has to go to the morgue.

0:09:17 > 0:09:19Did you find out anything?

0:09:19 > 0:09:21Yeah, um...

0:09:22 > 0:09:25Wilhelm was home in Sils Maria.

0:09:25 > 0:09:28Rosa went for a check-up in Basel.

0:09:28 > 0:09:30She thinks that he was home all day writing as usual,

0:09:30 > 0:09:31went for a late afternoon walk.

0:09:31 > 0:09:34But she called to check on him and couldn't get through,

0:09:34 > 0:09:36so she got worried and sent the neighbours over.

0:09:36 > 0:09:39Doors were locked, the lights were out, he wasn't home.

0:09:41 > 0:09:43When did they find him?

0:09:43 > 0:09:47Late afternoon, like, the middle of nowhere.

0:09:47 > 0:09:49They think it was a heart attack.

0:10:25 > 0:10:28It's so exciting having you here.

0:10:28 > 0:10:30Nice.

0:10:30 > 0:10:33The cockroaches must have taken a later train.

0:10:40 > 0:10:43We are...in a...in a loss for words.

0:10:43 > 0:10:48I have to say, my first reaction was to head right back.

0:10:48 > 0:10:50I understand.

0:10:50 > 0:10:51We were wondering, as well,

0:10:51 > 0:10:56should we move forward or cancel everything?

0:10:56 > 0:10:58You know, here in Switzerland,

0:10:58 > 0:11:02we are not big on public displays of anything.

0:11:03 > 0:11:05Especially grief.

0:11:05 > 0:11:08This should have been a celebration.

0:11:08 > 0:11:11And now it will be a posthumous homage.

0:11:11 > 0:11:14It's going to generate the kind of press that we do not want.

0:11:14 > 0:11:15We'll try to keep them on distance.

0:11:15 > 0:11:18Paparazzi are going to be all over her. You realise that, right?

0:11:18 > 0:11:20I have to think it over.

0:11:20 > 0:11:23Everything's hitting me at once, so I...I don't know.

0:11:23 > 0:11:27Of course. That's why we invited Henryk Wald.

0:11:28 > 0:11:31Henryk Wald?

0:11:31 > 0:11:32Yes.

0:11:32 > 0:11:35He's devastated, as well.

0:11:35 > 0:11:40But he agreed to hop on a plane to be with us tonight.

0:11:40 > 0:11:44If you'd prefer not to accept the prize, Henryk can do it.

0:11:44 > 0:11:46It's up to you.

0:11:46 > 0:11:49He's associated with Wilhelm's theatre.

0:11:49 > 0:11:52Most of the plays were written for him.

0:11:53 > 0:11:56- You don't appreciate him? - We did two films together.

0:11:56 > 0:11:59No, we didn't get along very well.

0:11:59 > 0:12:02But I'm glad he's here.

0:12:02 > 0:12:05He and Wilhelm were very close, and Rosa likes him a lot.

0:12:05 > 0:12:09He's a...a great actor.

0:12:09 > 0:12:10Yeah.

0:12:10 > 0:12:13One last question.

0:12:13 > 0:12:15Oh, I forgot to tell you this thing. Sorry.

0:12:15 > 0:12:17- Chanel.- Chanel.

0:12:17 > 0:12:18The press attache from Chanel

0:12:18 > 0:12:21is waiting for you at the hotel to try on your gown.

0:12:21 > 0:12:23You don't have to.

0:12:23 > 0:12:25No, you do not have to.

0:12:33 > 0:12:34Can we turn this off?

0:12:38 > 0:12:41- And no fruit. Thank you. - Mm-hmm.

0:12:58 > 0:13:00OK, all good. Thank you.

0:13:05 > 0:13:08So, what do you think? Would she stay?

0:13:08 > 0:13:09Yeah, she'll...she'll stay.

0:13:09 > 0:13:12Because if not, I have to change the tickets.

0:13:12 > 0:13:14I know. She'll stay. Trust me.

0:13:14 > 0:13:16Thank you.

0:13:18 > 0:13:21I can't deal with this. It's impossible.

0:13:21 > 0:13:22I'll never find the right words.

0:13:25 > 0:13:29His body isn't even cold yet, and everybody wants a piece of him,

0:13:29 > 0:13:30starting with Henryk Wald, of course.

0:13:30 > 0:13:33Of course he'd be happy to accept the prize.

0:13:34 > 0:13:36If only I could just not see him.

0:13:37 > 0:13:39Henryk?

0:13:39 > 0:13:41Why are you still so upset with him?

0:13:41 > 0:13:44I have no reason to have stopped being upset with him.

0:13:44 > 0:13:46- So he was in love with you or something.- Not at all.

0:13:46 > 0:13:49He was just furious I didn't give in to him.

0:13:51 > 0:13:53He's perverse, violent.

0:13:53 > 0:13:55He hits women.

0:13:55 > 0:13:57He likes to humiliate them.

0:13:57 > 0:13:59Look it up on the internet.

0:13:59 > 0:14:01I thought we despised the internet.

0:14:03 > 0:14:06- Caroline?- Yes. - Hey. Valentine.

0:14:06 > 0:14:07- Hello.- Hi.- Hi.

0:14:07 > 0:14:11Thanks for agreeing to this. I know it must be really difficult for you.

0:14:18 > 0:14:21Uh, this is Berndt.

0:14:21 > 0:14:22- Oh. Hi.- Hi.

0:14:22 > 0:14:24- Berndt. Nice to meet you. - Nice to meet you.

0:14:24 > 0:14:27You know those really trashy photos I showed you of Lindsay Lohan?

0:14:27 > 0:14:29This guy's responsible.

0:14:29 > 0:14:32But I'll try to be more elegant today.

0:14:48 > 0:14:50Mmm.

0:15:41 > 0:15:43It's Rosa.

0:15:45 > 0:15:47Am I bothering you?

0:15:47 > 0:15:50I just wanted to tell you...

0:15:51 > 0:15:53..to thank you.

0:15:53 > 0:15:55It's good that you're there.

0:15:55 > 0:15:57It's good...

0:15:57 > 0:15:59that you're accepting the prize.

0:15:59 > 0:16:01It's what Wilhelm wanted.

0:16:04 > 0:16:06Henryk? No.

0:16:06 > 0:16:10You know what he thought of Henryk.

0:16:11 > 0:16:13The less he understands, the better he is,

0:16:13 > 0:16:15and when he understands nothing, he's excellent.

0:16:18 > 0:16:22I would like to have given you a hug, but...

0:16:22 > 0:16:24but I'm leaving.

0:16:24 > 0:16:27I can't stand being alone at Sils.

0:16:27 > 0:16:30It's too difficult.

0:16:30 > 0:16:33But there's something I want you,

0:16:33 > 0:16:36and only you...

0:16:42 > 0:16:44..to know.

0:16:48 > 0:16:50Mmm.

0:16:50 > 0:16:52THEY GIGGLE

0:16:54 > 0:16:57So, he knew about the illness for a long time?

0:17:01 > 0:17:04Did the autopsy say what he swallowed?

0:17:07 > 0:17:10Oh, I see.

0:17:10 > 0:17:12He left nothing to chance.

0:17:13 > 0:17:16Beautiful. Turn your body a bit sideways, please.

0:17:16 > 0:17:19Yeah. And chin up a little bit, please. Thank you.

0:17:19 > 0:17:21Great. Yeah.

0:17:21 > 0:17:22- Maria?- Hmm?

0:17:22 > 0:17:26- Sorry. It's, uh, your future ex. - And again. All right?

0:17:26 > 0:17:29- Hold on a second. - Right, right.- Hello?

0:17:43 > 0:17:46CAMERA SHUTTERS CLICK

0:17:53 > 0:17:54- PHOTOGRAPHERS CLAMOUR - Maria! Maria!

0:17:54 > 0:17:56Maria!

0:17:56 > 0:17:58- ALL SHOUT:- Maria! Maria!

0:18:01 > 0:18:02The press is all here.

0:18:02 > 0:18:05I don't know how we'll squeeze them all in.

0:18:06 > 0:18:10One thing you should know - we met very early, at the university.

0:18:10 > 0:18:12We were both studying literature and theology.

0:18:15 > 0:18:17And I had the privilege of acting

0:18:17 > 0:18:19in all of his plays, here and abroad.

0:18:19 > 0:18:22He had become a recluse - mysterious, inaccessible.

0:18:22 > 0:18:26Wilhelm was the simplest man in the world.

0:18:26 > 0:18:29He liked to ski in the winter and go hiking in the summer.

0:18:29 > 0:18:32Those are the fondest memories I have of him.

0:18:32 > 0:18:35His later work depicts a bleak, destructive vision.

0:18:35 > 0:18:37I acted in those plays.

0:18:39 > 0:18:40Mmm, it's true.

0:18:40 > 0:18:43At times I found them scary.

0:18:46 > 0:18:49A sea of grey hair.

0:18:51 > 0:18:52Completely.

0:18:54 > 0:18:57So, first I'll say a few words.

0:18:57 > 0:18:59I hope I am up to the task.

0:18:59 > 0:19:01And then I'll introduce Henryk.

0:19:01 > 0:19:04Once he has finished, he asks you to join him on stage.

0:19:04 > 0:19:07You'll introduce the film. That's it.

0:19:21 > 0:19:23I saw Wilhelm two weeks ago.

0:19:25 > 0:19:27We went hunting.

0:19:28 > 0:19:32He was his usual self. There and not there.

0:19:35 > 0:19:38He mentioned the prize, said he wouldn't be attending.

0:19:39 > 0:19:42I told him he'd miss an opportunity to see you.

0:19:42 > 0:19:46I was on Long Island six months ago. I spent a week with him and Rosa.

0:19:46 > 0:19:48- I know. - I don't give a fuck that you know.

0:19:50 > 0:19:52Henryk, you are almost on.

0:19:52 > 0:19:54Excuse me.

0:19:59 > 0:20:02We had an affair when we were shooting Maloja Snake.

0:20:02 > 0:20:06- Yeah, I couldn't tell... - I was 18, kind of dumb.

0:20:06 > 0:20:07And he really took advantage.

0:20:08 > 0:20:11After the shoot, I never heard from him.

0:20:11 > 0:20:14- It destroyed me.- I'm sure you've run into him since.

0:20:15 > 0:20:17We made another film together afterwards.

0:20:18 > 0:20:21- Which one? - Oh, you don't want to know.

0:20:21 > 0:20:23Tolstoy adaptation. German producers.

0:20:23 > 0:20:26Who cares, huh?

0:20:26 > 0:20:28Well, ten years later, I was famous.

0:20:28 > 0:20:30Then he was interested.

0:20:30 > 0:20:33And he kept harassing me, calling me in the middle of the night.

0:20:33 > 0:20:36But I didn't give in, and that he hated.

0:20:36 > 0:20:40And he made me pay for it every single day of the shooting.

0:20:40 > 0:20:45He was really amazing in that one movie... Um, what is it called?

0:20:45 > 0:20:49He plays a Soviet defector with, like, missile codes and shit.

0:20:49 > 0:20:52- Um, do you know? - No, I don't know.

0:20:52 > 0:20:54Never heard of it.

0:20:54 > 0:20:56He's great in it.

0:20:56 > 0:20:59So intense, especially in the more physical scenes.

0:20:59 > 0:21:02That stare. He is like...

0:21:02 > 0:21:04- I like him. - Yeah, I kind of got it.

0:21:04 > 0:21:07I mean, as an actor I really like him. I...

0:21:49 > 0:21:51Maria, you're on in five minutes.

0:21:51 > 0:21:53APPLAUSE

0:21:58 > 0:21:59Maria...

0:22:10 > 0:22:12APPLAUSE

0:22:26 > 0:22:29CHEERING AND APPLAUSE

0:22:38 > 0:22:40Thank you.

0:22:41 > 0:22:43Go get 'em, tiger.

0:22:45 > 0:22:46Thank you very much.

0:23:05 > 0:23:07- Hi.- Good evening. Welcome.

0:23:09 > 0:23:11I'm honoured to welcome you here.

0:23:11 > 0:23:14I wish it had been under happier circumstances.

0:23:14 > 0:23:19It's, um... It's great to celebrate his work. Especially today.

0:23:19 > 0:23:23I was eager that the city of Zurich pay tribute to him.

0:23:23 > 0:23:25He was very grateful to you. He told me so.

0:23:28 > 0:23:30Hey. She'll just be two seconds.

0:23:30 > 0:23:34I'm sure she's going to be thrilled to be relieved from officialdom.

0:23:34 > 0:23:37- You know that his last play was set in Zurich.- Oh, yes.

0:23:37 > 0:23:40He paints a rather dire portrait of our political class.

0:23:40 > 0:23:41That's an understatement.

0:23:41 > 0:23:44You should know. Your character was evil.

0:23:44 > 0:23:47Klaus Diesterweg is here to see you.

0:23:49 > 0:23:50Excuse me. Sorry.

0:23:53 > 0:23:55I already told him no.

0:23:55 > 0:23:58- He's here just to see you.- The project doesn't interest me. OK?

0:23:58 > 0:24:02He's a great director. Just hear him out. You don't have to do it.

0:24:02 > 0:24:04He's probably the best of his generation.

0:24:04 > 0:24:06I know. We saw the same productions.

0:24:06 > 0:24:10If you'd like to go on chatting with the mayor and Henryk, you can be my guest.

0:24:12 > 0:24:13No, thank you.

0:24:15 > 0:24:17OK.

0:24:17 > 0:24:19Do you mind if I cut out for a bit?

0:24:19 > 0:24:21I'm just going to meet Berndt.

0:24:21 > 0:24:22Berndt?

0:24:22 > 0:24:24- The photographer. - SHE WOLF-WHISTLES

0:24:24 > 0:24:26We're just going to find somewhere a bit livelier.

0:24:26 > 0:24:27This place is a dead zone.

0:24:27 > 0:24:31Oh. No problem. I don't plan to hang around.

0:24:31 > 0:24:32Enjoy.

0:24:36 > 0:24:39- Thank you for finding time for me. - It's a pleasure to meet you.

0:24:39 > 0:24:41- I hope you don't find me too insistent.- Not at all.

0:24:41 > 0:24:45I've seen quite a few of your productions. I enjoy them, and...

0:24:45 > 0:24:49I know we'll find an opportunity to work together in the future.

0:24:49 > 0:24:51Give me one more chance.

0:24:51 > 0:24:53Klaus...

0:24:56 > 0:25:01I played Sigrid in Maloja Snake when I was 18.

0:25:01 > 0:25:03For me it was more than a role.

0:25:04 > 0:25:06In some way, I am still Sigrid.

0:25:06 > 0:25:09That's my point. If Sigrid seduces Helena...

0:25:09 > 0:25:11And it has nothing to do with being a lesbian, by the way.

0:25:11 > 0:25:14- I've always been straight. - That's not at all what I meant.

0:25:14 > 0:25:16Sigrid is free, beyond everything.

0:25:16 > 0:25:19And most of all, she's disruptive, unpredictable.

0:25:19 > 0:25:20I know.

0:25:22 > 0:25:25And right or wrong, I've always identified with that freedom.

0:25:26 > 0:25:27It's a way of, uh...

0:25:29 > 0:25:31..protecting myself.

0:25:31 > 0:25:32Do you smoke?

0:25:32 > 0:25:36Uh, no, no. I...I try not to.

0:25:38 > 0:25:41And for you, Helena embodies the opposite?

0:25:41 > 0:25:43Helena is 40. She's runs a company.

0:25:43 > 0:25:47She falls head over heels in love with a girl who doesn't love her

0:25:47 > 0:25:49and leads her to suicide.

0:25:49 > 0:25:52Yes. She's completely the opposite.

0:25:52 > 0:25:56But what is it that attracts Helena to Sigrid, if they are so different?

0:25:56 > 0:26:00It's obvious. Her youth.

0:26:00 > 0:26:01Well, if you're telling me

0:26:01 > 0:26:04that I'm Helena's age now, yeah, you're right, it's true.

0:26:04 > 0:26:06But that doesn't mean I can play her.

0:26:06 > 0:26:09The way I see Helena is totally different.

0:26:09 > 0:26:13Despite her bourgeois life, despite her responsibilities,

0:26:13 > 0:26:15she's not the epitome of order

0:26:15 > 0:26:17and not at all the opposite of Sigrid.

0:26:17 > 0:26:20Well, she is married, with children,

0:26:20 > 0:26:22her social life is a huge success,

0:26:22 > 0:26:23and she sacrifices it all.

0:26:23 > 0:26:25Yeah, she's destructive.

0:26:25 > 0:26:28Sigrid revives this hidden violence in Helena.

0:26:28 > 0:26:30Was it hidden or tamed?

0:26:33 > 0:26:36Time's gone by and she can't accept it.

0:26:36 > 0:26:37Me neither, I guess.

0:26:40 > 0:26:41There's no antagonism.

0:26:41 > 0:26:45It's the attraction of two women with the same wound.

0:26:45 > 0:26:48Sigrid and Helena are one and the same person.

0:26:48 > 0:26:50One and the same person.

0:26:50 > 0:26:52That's what the play is about.

0:26:53 > 0:26:57And because you were Sigrid, only you can be Helena now.

0:26:57 > 0:27:00Hmm. How can you be so sure?

0:27:00 > 0:27:03You know as well as I do that Wilhelm Melchior

0:27:03 > 0:27:05had been working on a sequel for years.

0:27:05 > 0:27:08Yes, but it was about Sigrid at 40 years old.

0:27:08 > 0:27:12No, it was about Sigrid 20 years later became Helena.

0:27:15 > 0:27:18So who's to play Sigrid?

0:27:19 > 0:27:21Jo-Ann Ellis.

0:27:22 > 0:27:26She did a superhero movie that just opened in the States.

0:27:26 > 0:27:29- And besides that?- Not much. She's 19.

0:27:29 > 0:27:33She's a lot more interesting than her interviews and profiles.

0:27:33 > 0:27:35She has a theatrical background.

0:27:35 > 0:27:38She doesn't want to be swallowed up by Hollywood.

0:27:39 > 0:27:41She admires you, and she's willing to pull out

0:27:41 > 0:27:42of her other commitments.

0:27:47 > 0:27:50Well, I've listened carefully.

0:27:52 > 0:27:55But to be honest, um, the role scares me.

0:27:55 > 0:27:57Helena scares me.

0:27:57 > 0:27:59I'm in the middle of a divorce.

0:27:59 > 0:28:02I feel alone and vulnerable.

0:28:02 > 0:28:04Probably too vulnerable to do this.

0:28:05 > 0:28:08If you refuse, I'll understand, but...

0:28:09 > 0:28:12..it will be a missed opportunity.

0:28:12 > 0:28:14Especially for Wilhelm.

0:28:14 > 0:28:16SHE CHUCKLES

0:28:16 > 0:28:18I should get going.

0:28:25 > 0:28:28Excuse me, but I won't be staying for dinner.

0:28:30 > 0:28:32Good evening, Maria.

0:28:32 > 0:28:34Klaus.

0:28:34 > 0:28:36I have another reason.

0:28:36 > 0:28:38Susan Rosenberg.

0:28:38 > 0:28:40She played Helena with me.

0:28:40 > 0:28:42I remember Susan Rosenberg.

0:28:42 > 0:28:45She died in a car accident a year after.

0:28:47 > 0:28:50It's a superstition. I've always associated her death

0:28:50 > 0:28:52with Helena's suicide.

0:28:52 > 0:28:55She was a lousy actress who didn't understand a thing about the role.

0:28:57 > 0:28:59But her conventional style of acting

0:28:59 > 0:29:02highlighted the modernity of your performance.

0:29:02 > 0:29:04You should be grateful to her.

0:29:13 > 0:29:15Please sit down.

0:29:16 > 0:29:18Thank you.

0:29:21 > 0:29:23Oh, is there a way of changing this?

0:29:23 > 0:29:26- Can you put him in another place? - I'm... I'm sorry. Oh, he's coming.

0:29:35 > 0:29:38MUTED CONVERSATION

0:29:42 > 0:29:44You were with Klaus Diesterweg.

0:29:44 > 0:29:46Are you going to accept his offer?

0:29:46 > 0:29:48- What offer? - You know.

0:29:48 > 0:29:50He's a very good director.

0:29:50 > 0:29:53If he'd offered me a role, I'd accept it on the spot.

0:29:53 > 0:29:56So that means, um, I should accept it?

0:29:56 > 0:29:59- God, no! - SHE LAUGHS

0:29:59 > 0:30:02This much-talked-about sequel of his...

0:30:04 > 0:30:06Remember, he never finished it.

0:30:06 > 0:30:08Sorry to be brutal,

0:30:08 > 0:30:11but I'm a simple man and the play tells a simple story.

0:30:11 > 0:30:14An older woman falls in love with a scheming girl

0:30:14 > 0:30:16that has her wrapped around her little finger.

0:30:16 > 0:30:18The girl takes advantage of her,

0:30:18 > 0:30:22squeezes everything she can out of her, then dumps her.

0:30:22 > 0:30:25Helena's love for Sigrid makes her stupid

0:30:25 > 0:30:28and blind to what everybody in the audience can see right away.

0:30:28 > 0:30:32But then, that's really all she's ever wanted.

0:30:32 > 0:30:35She's fascinated by her own downfall.

0:30:35 > 0:30:37It's as clear as day.

0:30:37 > 0:30:42That's why the play was such a hit and is still being performed today.

0:30:44 > 0:30:47Why stage it if you want to tell another story?

0:30:47 > 0:30:50I think your reading is simplistic.

0:30:50 > 0:30:53I know Sigrid,

0:30:53 > 0:30:55and believe me, she's more interesting than that.

0:30:55 > 0:30:58Yes, she takes advantage of Helena.

0:30:58 > 0:31:01Yes, she fascinates her and she knows it.

0:31:02 > 0:31:06You can decide not to look any further, but I had to because I played her.

0:31:06 > 0:31:09You're just talking about what's on the surface.

0:31:09 > 0:31:12The play is about what attracts them to each other.

0:31:12 > 0:31:16It's harder to see, and it's more profound and truer.

0:31:18 > 0:31:22The impossibility of their relationship is as cruel for Sigrid.

0:31:22 > 0:31:25- HE SCOFFS - Cruel for Sigrid?

0:31:25 > 0:31:27- I'm sure she'll get over it. - What do you know?

0:31:27 > 0:31:29Time. Youth.

0:31:29 > 0:31:31She has her life ahead of her.

0:31:31 > 0:31:33Well, Helena is young too. She's not old.

0:31:33 > 0:31:35She has her life ahead of her, too.

0:31:35 > 0:31:37But she decides to give it all up.

0:31:37 > 0:31:39Helena is not used to being turned down.

0:31:39 > 0:31:42She discovers her own frailty and she can't accept it.

0:31:55 > 0:31:59We'll drop Mr Wald off first, please.

0:32:00 > 0:32:02Grand Hotel du Lac, please.

0:32:06 > 0:32:09So Klaus has persuaded you.

0:32:09 > 0:32:10You're going to play Helena.

0:32:12 > 0:32:14I didn't say that.

0:32:14 > 0:32:16But I'm considering it.

0:32:16 > 0:32:18Yes.

0:32:30 > 0:32:34Are you sure you don't want to have a last drink?

0:32:34 > 0:32:36SHE LAUGHS

0:32:37 > 0:32:40I'm already drunk, darling.

0:32:45 > 0:32:46Henryk!

0:32:46 > 0:32:49- Yes?- Hold on.

0:33:02 > 0:33:06- TV:- Ready for recovery, recently appointed governor Mark Carney

0:33:06 > 0:33:08promised to keep interest rates low

0:33:08 > 0:33:11as long as unemployment remains high...

0:33:11 > 0:33:15TV CONTINUES INDISTINCTLY

0:34:50 > 0:34:52Wow.

0:34:52 > 0:34:54- Hey.- Hi.

0:34:54 > 0:34:56I just found the main road again. I'm sorry.

0:34:56 > 0:34:58I must have set the GPS wrong.

0:34:58 > 0:35:00Like an hour or so, probably.

0:35:00 > 0:35:03I had a...dream, um...

0:35:05 > 0:35:07We were already rehearsing and...

0:35:07 > 0:35:11past and the present were blending together.

0:35:11 > 0:35:14- I'm confused. - No kidding.

0:35:15 > 0:35:18I shouldn't have said yes to Klaus.

0:35:18 > 0:35:22But Wilhelm's death, mourning - I couldn't refuse.

0:35:22 > 0:35:25He is a sick director.

0:35:25 > 0:35:28Jo-Ann's a superstar. It pays well.

0:35:28 > 0:35:30I don't need the money.

0:35:32 > 0:35:33OK.

0:35:56 > 0:35:58Hi.

0:36:03 > 0:36:05Stay as long as you want.

0:36:05 > 0:36:07I like the fact

0:36:07 > 0:36:11that you are working on the part here, where it was written.

0:36:11 > 0:36:15You promised - no ghosts.

0:36:15 > 0:36:17There... There aren't any.

0:36:17 > 0:36:19I was joking.

0:36:19 > 0:36:22No. It was half-joking.

0:37:08 > 0:37:11This is what I wanted to show you.

0:37:11 > 0:37:14This is where Wilhelm killed himself.

0:37:14 > 0:37:17But that...that stays between you and me.

0:37:21 > 0:37:24Is that the Maloja Pass over there?

0:37:24 > 0:37:25Yeah.

0:37:25 > 0:37:28- The snake, right?- The snake.

0:37:28 > 0:37:32Why a snake? In the play, it's, uh... It's ambiguous.

0:37:33 > 0:37:35The Maloja snake.

0:37:35 > 0:37:38It's a cloud formation.

0:37:38 > 0:37:40Fairly rare.

0:37:40 > 0:37:42Partially unexplained.

0:37:42 > 0:37:46It's a sign of bad weather.

0:37:46 > 0:37:49And the clouds, they are coming from the Italian lakes,

0:37:49 > 0:37:51over the pass

0:37:51 > 0:37:54and winding through the valley

0:37:54 > 0:37:56like a serpent.

0:37:57 > 0:38:00Therefore, it's a snake. They call it a snake.

0:38:19 > 0:38:23The clouds wind up the Maloja Pass.

0:38:44 > 0:38:47Wilhelm was fascinated by this film.

0:38:47 > 0:38:52He used to marvel at the fact that the true nature of the landscape

0:38:52 > 0:38:55revealed itself in these images.

0:38:57 > 0:39:02Yes, um, but the black-and-white creates a distance.

0:39:02 > 0:39:05It sets the passing of time.

0:39:05 > 0:39:08It's almost a century old.

0:39:08 > 0:39:12Actually, it comes from very far away.

0:39:12 > 0:39:15That's the beauty of it.

0:39:28 > 0:39:30- Thank you so much. - Lovely to meet you. Thank you.

0:39:30 > 0:39:32Thank you.

0:39:35 > 0:39:39I won't promise to come and see you in London.

0:39:39 > 0:39:41I hope you change your mind. All right?

0:39:41 > 0:39:43THEY CHUCKLE

0:39:43 > 0:39:45Theatre is only theatre.

0:39:48 > 0:39:49Oh, Maria.

0:39:51 > 0:39:53It belongs to Wilhelm.

0:39:54 > 0:39:55Keep it.

0:39:55 > 0:39:58GOATS' BELLS CLATTER NEARBY

0:39:58 > 0:40:00ENGINE TURNS

0:40:14 > 0:40:17You were 18 years old. You weren't a child.

0:40:17 > 0:40:19There had to have been some kind of attraction or...

0:40:21 > 0:40:23Wilhelm was far from a saint, right?

0:40:25 > 0:40:27Maybe.

0:40:29 > 0:40:31Mmm.

0:40:31 > 0:40:35He did choose me, so he must have felt something, but...

0:40:35 > 0:40:37it remained unspoken.

0:40:38 > 0:40:40- So you admit... - And it's not very important.

0:40:40 > 0:40:42It's not very important.

0:40:42 > 0:40:47Mmm. If that's not important, what the fuck is important?

0:40:47 > 0:40:50All that matters is what's in the movie.

0:40:50 > 0:40:52So you admit there was attraction?

0:40:53 > 0:40:54Stop.

0:40:55 > 0:40:58Why? Was it mutual?

0:40:58 > 0:40:59Yes.

0:40:59 > 0:41:02No! I don't know. I don't know.

0:41:02 > 0:41:04You don't understand.

0:41:07 > 0:41:11Yes, I was attracted to Wilhelm, but it's normal.

0:41:11 > 0:41:16I was fine with just feeling attracted and with the intimacy.

0:41:17 > 0:41:19So there was intimacy, too.

0:41:21 > 0:41:23SHE LAUGHS

0:41:23 > 0:41:25Stop picking apart every word I say.

0:41:25 > 0:41:29Anything more would have endangered our relationship.

0:41:29 > 0:41:31I was, uh...

0:41:31 > 0:41:36My intuition told me that it was far more valuable than desire.

0:41:36 > 0:41:38I feel you.

0:41:38 > 0:41:42- You were in love with him. - Of course I wasn't.

0:41:42 > 0:41:44Stop oversimplifying. It's too easy.

0:41:44 > 0:41:46It was less than that.

0:41:46 > 0:41:47And it was better.

0:41:49 > 0:41:53I don't know any more. Maybe I only remember what suits me to remember.

0:41:53 > 0:41:55Yeah. I think so.

0:41:55 > 0:41:58- Cos the story changes every time.- Bitch.

0:41:58 > 0:41:59SHE LAUGHS

0:41:59 > 0:42:02Do you want to christen a shopping mall in Nanking?

0:42:02 > 0:42:03No.

0:42:03 > 0:42:06How about a series of commercials for eyeglasses?

0:42:06 > 0:42:08- No. - It's only in Latin America.

0:42:08 > 0:42:09- No! - All right.

0:42:09 > 0:42:12Um, there's a Spanish horror flick. It's pretty gory.

0:42:12 > 0:42:14You'd be playing a mother superior.

0:42:14 > 0:42:17There are werewolves involved, for whatever reason.

0:42:17 > 0:42:18No.

0:42:18 > 0:42:22An interview with an Italian magazine targeting active women.

0:42:22 > 0:42:23Seduction After 40.

0:42:25 > 0:42:26No!

0:42:26 > 0:42:28But it's the cover.

0:42:28 > 0:42:29- No!- OK.

0:42:29 > 0:42:32- Mario Testino is shooting it. - I don't care.

0:42:34 > 0:42:36Jo-Ann Ellis' movie is opening up in Europe.

0:42:36 > 0:42:37She wants to meet you.

0:42:37 > 0:42:40- When?- Next week.

0:42:41 > 0:42:43Where?

0:42:43 > 0:42:46Wherever you want. She'll come here if you'd like.

0:42:47 > 0:42:51- Definitely not here.- Maybe I'll tell her to book the Waldhaus.

0:42:52 > 0:42:54When is her movie opening?

0:42:54 > 0:42:58It opened last week. Have you read a paper lately?

0:42:58 > 0:43:00I'm sorry. You want one?

0:43:01 > 0:43:03It's playing in St Moritz, if you want to see it.

0:43:03 > 0:43:05I'd rather wait until rehearsals start

0:43:05 > 0:43:09and...keep the image of Sigrid as myself at 18.

0:43:09 > 0:43:12I know, I know. It's a little disturbing.

0:43:12 > 0:43:15But I find it more interesting.

0:43:15 > 0:43:17Well, I didn't know you at 18,

0:43:17 > 0:43:20but I'm almost positive Jo-Ann's a lot worse.

0:43:20 > 0:43:22How can you be so sure?

0:43:22 > 0:43:25- Have you googled her?- Well, I just looked at the pictures.

0:43:26 > 0:43:29Well, you should dig a little deeper.

0:43:30 > 0:43:33Won't take you long to find all the naked photos,

0:43:33 > 0:43:36the latest updates on her exploits.

0:43:36 > 0:43:37Such as?

0:43:37 > 0:43:40Her break-up.

0:43:40 > 0:43:41With Andrew Beltram?

0:43:42 > 0:43:44Any idea who that is?

0:43:44 > 0:43:46Not at all.

0:43:46 > 0:43:48What world do you live in?

0:43:48 > 0:43:51He's, like... He's the biggest star.

0:43:51 > 0:43:52Says who?

0:43:52 > 0:43:54- Preteens.- Oh...

0:43:54 > 0:43:57Hey, there are a shit-tonne of them, so be careful.

0:43:58 > 0:44:01Um, he broke up with her because she wouldn't stop getting wasted

0:44:01 > 0:44:03and cheating on him in public.

0:44:03 > 0:44:06So she went to his house with a gun, and he went bat-shit.

0:44:06 > 0:44:09Threw her out. But, like, violently threw her out.

0:44:09 > 0:44:12Not exactly the way Klaus described her.

0:44:12 > 0:44:13The neighbours had to subdue her

0:44:13 > 0:44:17cos she was, like, shooting up the place. Apparently it wasn't easy.

0:44:17 > 0:44:20She went to rehab to get out of doing time. She's better now.

0:44:20 > 0:44:22According to her press releases.

0:44:22 > 0:44:24Well, yeah.

0:44:24 > 0:44:28And, uh, the classical training, the theatre background,

0:44:28 > 0:44:30is that all bullshit?

0:44:30 > 0:44:32No. No, that's all true.

0:44:32 > 0:44:34She took off and just started really fucking up.

0:44:34 > 0:44:39Um, I think she probably got jealous of, like, Hollywood trash.

0:44:40 > 0:44:43TMZ deemed her the A-list actress

0:44:43 > 0:44:45that dreamt of making it to the Z-list.

0:44:45 > 0:44:47You could have told me sooner.

0:44:49 > 0:44:51You despise internet gossip.

0:44:51 > 0:44:54This is not gossip. It's information.

0:44:54 > 0:44:57It's celebrity news. It's fun.

0:44:57 > 0:45:00- I thought you liked her a lot. - I do. I love her.

0:45:00 > 0:45:04She's not completely antiseptic like the rest of Hollywood.

0:45:04 > 0:45:08Well, you just said she was a self-destructive crazy girl.

0:45:08 > 0:45:11- I didn't say that.- Sorry. I must have misunderstood, then.

0:45:11 > 0:45:13Where are my fucking cigarettes?

0:45:13 > 0:45:15They're right in front of you.

0:45:15 > 0:45:16Where?

0:45:18 > 0:45:20- Hello!- Ah!

0:45:22 > 0:45:24She's brave enough to be herself.

0:45:24 > 0:45:26At her age, I think that's pretty fucking cool.

0:45:28 > 0:45:31I don't see what's so cool about fucking around,

0:45:31 > 0:45:32getting wasted out of your mind

0:45:32 > 0:45:34and almost killing a boyfriend that's sick of you.

0:45:34 > 0:45:37I think she's got a bright future.

0:45:37 > 0:45:40In fact, I think she's probably my favourite actress.

0:45:40 > 0:45:42Oh.

0:45:42 > 0:45:44You mean more than me? Hmm?

0:45:46 > 0:45:48No, I... I didn't mean that.

0:45:48 > 0:45:50Hmm?

0:45:50 > 0:45:52I'm more...what?

0:45:52 > 0:45:54Conventional?

0:45:54 > 0:45:55Boring.

0:45:57 > 0:46:00- And I can't reach her intensity.- No.

0:46:00 > 0:46:02I didn't say that.

0:46:02 > 0:46:04Of course not.

0:46:06 > 0:46:07Goodnight.

0:46:14 > 0:46:16Hey!

0:46:16 > 0:46:18Motherfucker!

0:46:18 > 0:46:20Hey! Stop fucking following me, all right?

0:46:20 > 0:46:22I'll fucking kill you! I'll fucking kill you!

0:46:22 > 0:46:24THUDDING

0:46:28 > 0:46:30So, let me ask you a tough question.

0:46:30 > 0:46:32You were fired from the Forbidden Planet remake.

0:46:32 > 0:46:35I don't know about that.

0:46:35 > 0:46:39You were supposed to play the old Anne Francis role, Altaira.

0:46:39 > 0:46:40I don't know. Maybe.

0:46:40 > 0:46:44And after your DUI arrest, your studio cancelled the contract.

0:46:44 > 0:46:47You know, even if that were true,

0:46:47 > 0:46:50that would have cost them an arm and a leg.

0:46:50 > 0:46:54Well, just say it were true. Which I'm not saying it is.

0:46:54 > 0:46:56But, hypothetically speaking,

0:46:56 > 0:46:59I wouldn't be able to even talk about it right now

0:46:59 > 0:47:00because I would've signed

0:47:00 > 0:47:03- a confidentiality agreement with the studio.- Sure.

0:47:03 > 0:47:06So, let is imagine you were arrested for a DUI

0:47:06 > 0:47:08and you had insulted the police officer.

0:47:08 > 0:47:12No. No, no. That's not hypothetical. That's a verified fact.

0:47:12 > 0:47:16I did get arrested on a DUI, and I did assault police officers.

0:47:16 > 0:47:19- So it's the studio's reaction that's hypothetical?- Exactly.

0:47:19 > 0:47:23And their hypothetical bat-shit crazy response

0:47:23 > 0:47:25would have cost them a hypothetical seven-figure sum,

0:47:25 > 0:47:28which I guess I wouldn't be able to talk about right now, right?

0:47:28 > 0:47:32So, will you be appearing on the remake for Forbidden Planet?

0:47:32 > 0:47:34Uh...

0:47:34 > 0:47:35I'd rather die...

0:47:35 > 0:47:37very, very slowly

0:47:37 > 0:47:39of, probably, food poisoning.

0:47:42 > 0:47:45SCREAMING

0:47:45 > 0:47:47SIRENS WAIL

0:47:50 > 0:47:51SHE MOUTHS

0:48:01 > 0:48:04- REPORTER:- Rumour has it that we'll see you on stage?

0:48:05 > 0:48:07Yeah, um, I'm going to...

0:48:07 > 0:48:10I'm going to do a play called Maloja Snake,

0:48:10 > 0:48:12uh, with Maria Enders.

0:48:13 > 0:48:16Um, she's going to play the older woman,

0:48:16 > 0:48:20and I will play the one who drives her to suicide.

0:48:20 > 0:48:23I mean, that's kind of rad, right?

0:48:23 > 0:48:25Where in London will you play it?

0:48:25 > 0:48:26They told me the name of it.

0:48:26 > 0:48:29This theatre...

0:48:29 > 0:48:31It's still being negotiated.

0:48:31 > 0:48:34- Who's directing? - Klaus.

0:48:34 > 0:48:37- Klaus who? - Klaus Klaus.

0:48:37 > 0:48:38Like, you know, the Klaus.

0:48:38 > 0:48:40Klaus Klaus?

0:48:40 > 0:48:43- Klaus Klaus! - Yeah. Fucking Klaus.

0:48:43 > 0:48:44You should do your job and look him up.

0:48:44 > 0:48:46You're a fucking reporter, for God's sake.

0:48:46 > 0:48:49- Well, you apparently don't know him.- Santa Klaus?

0:48:49 > 0:48:51ALL LAUGH

0:48:51 > 0:48:53Klaus Kinski?

0:48:53 > 0:48:55- Klaus Barbie.- Oh! SWITCHES CLIP OFF

0:48:59 > 0:49:02SHE SIGHS

0:49:13 > 0:49:16OK. This is the armchair.

0:49:17 > 0:49:19Um...

0:49:21 > 0:49:22..office door.

0:49:25 > 0:49:26Desk.

0:49:28 > 0:49:29OK, go ahead.

0:49:35 > 0:49:37Come in.

0:49:41 > 0:49:45Sigrid, I asked you here because your internship is almost over,

0:49:45 > 0:49:48and I wanted to congratulate you

0:49:48 > 0:49:50personally.

0:49:50 > 0:49:52Have a seat.

0:49:54 > 0:49:56No, there. The armchair.

0:50:06 > 0:50:09Everyone in my office sings your praises.

0:50:10 > 0:50:13Including the nastiest ones.

0:50:13 > 0:50:17The ones who think that I shouldn't have taken over the company

0:50:17 > 0:50:20after my father died, that I'm running it into the ground.

0:50:20 > 0:50:24The ones who consider me incompetent, not because I'm a woman

0:50:24 > 0:50:27but because they look at the figures,

0:50:27 > 0:50:31and the figures aren't what they should be.

0:50:32 > 0:50:35I know it's true. It keeps me up at night.

0:50:38 > 0:50:40It's been eating away at me.

0:50:41 > 0:50:44They've persuaded me, and now I think they're right.

0:50:44 > 0:50:47Why are you telling me this? It's none of my business.

0:50:47 > 0:50:49You want people to know?

0:50:51 > 0:50:54You think if you arouse their pity, they'll back off.

0:50:56 > 0:50:58I've been around a lot less than you,

0:50:58 > 0:51:01but in my experience it's quite the opposite. Wouldn't you agree?

0:51:02 > 0:51:05When they tell me about you,

0:51:05 > 0:51:08how much they appreciate you,

0:51:08 > 0:51:10they're using you to humiliate me...

0:51:10 > 0:51:13Shit! I messed up. Fuck!

0:51:13 > 0:51:15- It's...- What?

0:51:15 > 0:51:17- It's to remind... - It's to remind me!

0:51:17 > 0:51:19SHE GROANS Sh...!

0:51:19 > 0:51:20MARIA SIGHS

0:51:23 > 0:51:27SOBBING: I hate this fucking scene...

0:51:27 > 0:51:30Oh, I have too many memories of Susan Rosenberg

0:51:30 > 0:51:32and the disgust she made me feel

0:51:32 > 0:51:36while she was slipping into the skin of this...defeated woman.

0:51:36 > 0:51:40She got such obscene pleasure out of it night after night.

0:51:40 > 0:51:41Why "defeated"?

0:51:41 > 0:51:44Defeated by...by...age,

0:51:44 > 0:51:47by...by...her insecurities.

0:51:48 > 0:51:50Letting this kid lead her around by the nose.

0:51:50 > 0:51:53Come on. That's not... That's not all there is to it. There's...

0:51:53 > 0:51:55I'll start over.

0:51:57 > 0:52:00This poor woman is ready to kill herself before the play even starts.

0:52:01 > 0:52:04She's using Sigrid as a weapon, that's all.

0:52:04 > 0:52:06I'll start over.

0:52:07 > 0:52:08OK.

0:52:12 > 0:52:15When they tell me about you,

0:52:15 > 0:52:17how much they appreciate you...

0:52:19 > 0:52:22..it's to remind me how happy they are

0:52:22 > 0:52:25to grant you what they never granted me.

0:52:26 > 0:52:29They're using you to humiliate me.

0:52:30 > 0:52:33It's not just your youth, or your powers of seduction.

0:52:35 > 0:52:36No, it's your aplomb,

0:52:36 > 0:52:38your unshakeable self-confidence.

0:52:38 > 0:52:40- You don't know me. - Nothing gets to you.

0:52:40 > 0:52:44You radiate...self-confidence.

0:52:44 > 0:52:45And you don't?

0:52:45 > 0:52:47I wear a mask.

0:52:47 > 0:52:50It works with some people. Others see right through it.

0:52:52 > 0:52:55I can tell which is which right away.

0:52:55 > 0:52:57If there's one thing I excel at,

0:52:57 > 0:52:59that's reading people's behaviour.

0:52:59 > 0:53:01So, how should I be reading yours?

0:53:04 > 0:53:06How do you think?

0:53:08 > 0:53:11I don't know. I'm reluctant to say it. It's pretty clear.

0:53:11 > 0:53:13Don't be reluctant.

0:53:14 > 0:53:17"Helena nervously crosses and uncrosses her legs,

0:53:17 > 0:53:18"reaches for a cigarette."

0:53:21 > 0:53:23You talk about your insecurities.

0:53:23 > 0:53:26Your vulnerabilities.

0:53:26 > 0:53:29You open up to me, and I'm not exactly sure why.

0:53:31 > 0:53:34It's as if you're expecting something. Can I be frank?

0:53:39 > 0:53:42I don't think it's company figures that are keeping you up at night.

0:53:42 > 0:53:44- What's keeping me up, then? - Desire.

0:53:46 > 0:53:48For me, I think.

0:53:48 > 0:53:51I noticed it the second you hired me, and I'm sorry,

0:53:51 > 0:53:52but I've had fun playing with it.

0:53:54 > 0:53:55You've let me play with it.

0:53:55 > 0:53:57Fun.

0:53:57 > 0:54:00What a strange word.

0:54:00 > 0:54:01Not what I was expecting...

0:54:01 > 0:54:04Oh, this text is impossible.

0:54:04 > 0:54:05Oh, my God!

0:54:05 > 0:54:07So, now the play is bad?

0:54:07 > 0:54:10No. But everything is weighted to make Sigrid look good.

0:54:11 > 0:54:14I didn't read it like that.

0:54:14 > 0:54:17I see her arrogance, her cruelty,

0:54:17 > 0:54:19and Helena's humanity.

0:54:19 > 0:54:22She's able to talk about her own pain.

0:54:22 > 0:54:23It's moving.

0:54:23 > 0:54:25I'll start over.

0:54:28 > 0:54:30Fun.

0:54:31 > 0:54:32What a strange word.

0:54:34 > 0:54:37Not what I was expecting...

0:54:37 > 0:54:39She's such a stupid cunt.

0:54:39 > 0:54:40Oh...

0:54:40 > 0:54:43And I didn't expect you to talk about desire either.

0:54:43 > 0:54:45Let me be frank now.

0:54:45 > 0:54:47It makes me uncomfortable.

0:54:48 > 0:54:51And it forces me to see you differently.

0:54:51 > 0:54:53And that gets under your skin.

0:54:55 > 0:54:57Pause.

0:54:57 > 0:54:58You can tell me.

0:54:58 > 0:55:01Stands, lights a cigarette.

0:55:02 > 0:55:05In fact, it's exactly what you want to say, so say it.

0:55:05 > 0:55:07Yes. It's true.

0:55:07 > 0:55:09You get under my skin.

0:55:10 > 0:55:15I wanted to ask you to stay on and become my personal assistant.

0:55:15 > 0:55:17She doesn't accept.

0:55:17 > 0:55:19- I mean, she does accept! - MARIA LAUGHS

0:55:19 > 0:55:22Without hesitation, she accepts.

0:55:40 > 0:55:43Oh, I've been feeling sick all morning.

0:55:48 > 0:55:50I feel dirty.

0:55:51 > 0:55:55I don't like Helena, no matter how much humanity you see in her.

0:55:56 > 0:55:58- Want some?- No, thanks.

0:56:00 > 0:56:03Or maybe because of that humanity. I don't know. I don't care.

0:56:03 > 0:56:04I don't feel good in her skin.

0:56:04 > 0:56:07I don't know why I have to inflict this on myself.

0:56:07 > 0:56:09Then don't do it.

0:56:09 > 0:56:11That's what I'm saying. I'm not doing it.

0:56:41 > 0:56:43I'd like to take the car tonight.

0:56:43 > 0:56:46Berndt rented a house on Lake Como with some friends.

0:56:46 > 0:56:49That's pretty far.

0:56:49 > 0:56:52I mean, it's...two hours by car.

0:56:53 > 0:56:56If I left at 6.00, I could probably be back by sunrise.

0:56:58 > 0:57:01- Would you be OK alone?- Yeah.

0:57:01 > 0:57:04Yeah, just... Just be careful on the mountain roads at night.

0:57:07 > 0:57:09Are you involved with him?

0:57:10 > 0:57:13I mean, is this a thing now?

0:57:14 > 0:57:16I like him.

0:57:16 > 0:57:18Oh, you like him.

0:57:19 > 0:57:21That's all we'll get.

0:57:23 > 0:57:25You're jealous.

0:57:26 > 0:57:27Jealous?

0:57:29 > 0:57:31I don't know. Of my time.

0:57:32 > 0:57:33My thoughts.

0:57:34 > 0:57:36- Maybe my affection.- No.

0:57:36 > 0:57:40I'm not jealous. I'm thrilled that you have a boyfriend.

0:57:40 > 0:57:42There haven't been that many,

0:57:42 > 0:57:45and when there is one, you burn through him pretty fast.

0:57:46 > 0:57:47I'll tell you.

0:57:47 > 0:57:49No, you won't.

0:57:49 > 0:57:53And I never know if I should believe what little you do tell me.

0:57:53 > 0:57:55That's up to you.

0:58:00 > 0:58:03Why the fuck are we doing this shit?

0:58:03 > 0:58:05MARIA SCREAMS AND LAUGHS

0:58:05 > 0:58:06Fuck!

0:58:06 > 0:58:09THEY LAUGH

0:58:30 > 0:58:33Can you pass me those? I'm a little late.

0:58:33 > 0:58:35THUDDING

0:58:36 > 0:58:38- Sorry.- See you.

0:58:38 > 0:58:41THUNDER RUMBLES

0:59:58 > 1:00:01We can do anything, but you did sign a contract.

1:00:01 > 1:00:04- Pulling out will cost you. - You know, I've thought it over.

1:00:04 > 1:00:06I worked on a scene. I can't.

1:00:06 > 1:00:09I mean, I can, but...it's too hard.

1:00:09 > 1:00:11I feel too much disdain for Helena.

1:00:11 > 1:00:13I'm Sigrid. I want to stay Sigrid.

1:00:13 > 1:00:15Sigrid is 20.

1:00:17 > 1:00:19I don't care. I know I'm right.

1:00:19 > 1:00:22It doesn't interest me any more. It spoils my memories.

1:00:22 > 1:00:23It's not constructive.

1:00:23 > 1:00:26They'll sue, and it'll go on for months and months.

1:00:28 > 1:00:30They can replace me.

1:00:30 > 1:00:33It's too late. Klaus doesn't want anyone else for Helena.

1:00:33 > 1:00:35So I'm a hostage!

1:00:35 > 1:00:37You'll be appearing in a prestigious production

1:00:37 > 1:00:40that's been waiting for you for 20 years.

1:00:40 > 1:00:42I'm asking you to get me out of this.

1:00:42 > 1:00:45Great. But like I said, it won't be cheap.

1:00:45 > 1:00:47Figure something out!

1:00:47 > 1:00:49There's no use getting upset.

1:00:49 > 1:00:51We'll take care of it.

1:00:51 > 1:00:53But I'm giving you due diligence, OK?

1:00:53 > 1:00:55- SKYPE:- Ended.

1:03:22 > 1:03:24Wait! You have to stay with us.

1:03:24 > 1:03:26We're mutants, just like you.

1:03:26 > 1:03:28But we all have doubts.

1:03:28 > 1:03:31Doubts about our powers. Are we worthy of them?

1:03:31 > 1:03:33Do we have the right to use them?

1:03:33 > 1:03:36After all, what is good...

1:03:36 > 1:03:38and what is evil?

1:03:38 > 1:03:40And who are we to decide?

1:03:42 > 1:03:45Scarlet Witch and Dr Pretorius both agree.

1:03:46 > 1:03:47What you did was not treasonous.

1:03:47 > 1:03:49Forgive yourself.

1:03:49 > 1:03:52Don't judge your own actions so harshly.

1:03:52 > 1:03:55SHE SCREAMS

1:03:56 > 1:03:59Don't you understand?

1:03:59 > 1:04:00This is no mistake.

1:04:00 > 1:04:04I have been double-crossing the Alliance for a very long time now

1:04:04 > 1:04:07and reporting directly to Sargon.

1:04:07 > 1:04:09And you know why?

1:04:10 > 1:04:14Because I am madly in love with him.

1:04:15 > 1:04:17Do you remember when he attacked our guild's outpost?

1:04:17 > 1:04:20I tried to fight him then, but I was alone and I failed.

1:04:20 > 1:04:22You weren't there.

1:04:22 > 1:04:25Neither was Dr Pretorius, and neither was Scarlet Witch.

1:04:25 > 1:04:28He led me into a gravitational field that neutralised my powers.

1:04:28 > 1:04:31- He bolted me. - We tried to find you.

1:04:31 > 1:04:32I woke up alone!

1:04:32 > 1:04:35A prisoner in his fortress.

1:04:35 > 1:04:37And I know that he raped you.

1:04:37 > 1:04:39Yes.

1:04:39 > 1:04:40He didn't rape me.

1:04:41 > 1:04:43I fell in love with him.

1:04:43 > 1:04:45I refuse to believe this.

1:04:45 > 1:04:47Sargon is not a mutant, but he understands mutant desire.

1:04:47 > 1:04:50I became his lover. It's the only reason he set me free.

1:04:50 > 1:04:54You are crazy. Sargon loves no-one.

1:04:54 > 1:04:56He used me and then he cast me aside.

1:04:56 > 1:04:59But maybe if I obey him, maybe if I follow his orders...

1:05:01 > 1:05:03..he might just take me back.

1:05:03 > 1:05:05BLASTER FIRE, SHE SCREAMS

1:05:10 > 1:05:12ALARMS BLARE ON MOVIE

1:05:12 > 1:05:14QUIET CONVERSATION

1:05:20 > 1:05:23MUSIC PLAYS

1:05:25 > 1:05:28CHIPS CLICK, GLASSES CLINK

1:05:31 > 1:05:32And place your bets, please.

1:05:37 > 1:05:39The last bets, thank you. No more bets.

1:05:39 > 1:05:42- Rien ne va plus. - BALL SKITTERS

1:05:42 > 1:05:4328, black.

1:05:49 > 1:05:51And five places here.

1:05:52 > 1:05:54Place your bets, please.

1:06:01 > 1:06:03Nine, red.

1:06:06 > 1:06:08Place your bets, please.

1:06:08 > 1:06:09Well, I stayed because of you,

1:06:09 > 1:06:13but I could feel my brain cells dying, one by one.

1:06:13 > 1:06:15OK, but you don't find her amazing?

1:06:15 > 1:06:17I think she's totally fascinating.

1:06:17 > 1:06:19It's such a stupid character. Come on.

1:06:19 > 1:06:22Because it takes place on a spaceship?

1:06:22 > 1:06:24I know that if it was set on an assembly line

1:06:24 > 1:06:27or like a farm or something, you'd love it.

1:06:27 > 1:06:30It's true. I have a hard time taking bimbos in astronaut suits

1:06:30 > 1:06:34mouthing off some generic pop psychology seriously.

1:06:34 > 1:06:37- Been there, done that. - I like it.

1:06:37 > 1:06:40I know. I know you do. I'm sorry.

1:06:41 > 1:06:45There's no less truth than in a more supposedly serious film.

1:06:45 > 1:06:48She goes deep into the darker side of her character.

1:06:48 > 1:06:49MARIA HOWLS WITH LAUGHTER

1:06:49 > 1:06:52It's daring. It's really daring.

1:06:52 > 1:06:54In a big movie like that, it's fucking cool.

1:06:54 > 1:06:56Well, she's got great presence,

1:06:56 > 1:06:59but I don't see what's so daring about it.

1:07:01 > 1:07:03Despite her superpowers...

1:07:03 > 1:07:05SHE LAUGHS AND CHOKES

1:07:05 > 1:07:08- "Her superpowers"! - Yes, her superpowers.

1:07:08 > 1:07:11- Her superpowers? - Yes, her superpowers. So what?

1:07:11 > 1:07:14It's a convention, but it's no dumber than any other convention.

1:07:14 > 1:07:17Despite her superpowers, she's emotionally defenceless.

1:07:17 > 1:07:20She's in love, but she's not loved in return.

1:07:20 > 1:07:22This impossible love for Sargon, the Alliance's worst enemy,

1:07:22 > 1:07:24- leads her to betrayal and madness. - MARIA LAUGHS

1:07:24 > 1:07:26Fuckin' shit. Are you telling me there's nothing there

1:07:26 > 1:07:30- worth playing there?- I don't know. I don't know, Val. I don't know.

1:07:31 > 1:07:34Thank you.

1:07:34 > 1:07:36She knows that it means her downfall,

1:07:36 > 1:07:38but that is the ultimate truth of her desire.

1:07:38 > 1:07:40- Cheers. - It's fuckin' powerful.

1:07:40 > 1:07:41SHE LAUGHS

1:07:41 > 1:07:45Oh, my God. I hate you sometimes so much.

1:07:45 > 1:07:48You're making my head spin.

1:07:48 > 1:07:52And Sargon? You find him interesting, too?

1:07:55 > 1:07:57- Yeah, I do.- Good.

1:08:00 > 1:08:02No, Sargon sucks. It's...

1:08:02 > 1:08:04SHE CHOKES

1:08:04 > 1:08:07Jesus Christ! MARIA COUGHS

1:08:10 > 1:08:12Vos jeux, mesdames, messieurs.

1:08:13 > 1:08:15Last bets, thank you.

1:08:16 > 1:08:18No more. No more bets. Rien ne va plus.

1:08:18 > 1:08:20All of it?

1:08:20 > 1:08:22Ho!

1:08:22 > 1:08:25Did you see that? My magical door-opening powers?

1:08:25 > 1:08:28I can open a door, too.

1:08:28 > 1:08:30Sure you can drive?

1:08:30 > 1:08:33- I had the same drinks as you. - That's my point.

1:08:35 > 1:08:37CRASHING

1:08:37 > 1:08:40ALARM BLARES

1:08:40 > 1:08:42Go, go, go!

1:08:42 > 1:08:44ENGINE REVS

1:08:59 > 1:09:04So...what you were saying earlier was that,

1:09:04 > 1:09:09unlike Jo-Ann, I don't take that kind of role seriously, hmm?

1:09:09 > 1:09:11What? No.

1:09:11 > 1:09:13I don't know what you're talking about.

1:09:13 > 1:09:16That I have disdain for those characters

1:09:16 > 1:09:19and their...cartoonish psychology,

1:09:19 > 1:09:21but she doesn't.

1:09:21 > 1:09:24- Mmm.- Which makes her superior to me.

1:09:24 > 1:09:26Uh-oh. Don't get jealous.

1:09:26 > 1:09:28That's not an attractive quality.

1:09:28 > 1:09:31She dives headfirst into a character's ambiguities, but...

1:09:32 > 1:09:34..I don't.

1:09:35 > 1:09:38That's why you admire what she does.

1:09:39 > 1:09:41Yeah.

1:09:41 > 1:09:43You know, I think that when you watch her in a movie

1:09:43 > 1:09:48like the one we saw tonight, there is...there is no distance there.

1:09:48 > 1:09:52- It's normal. It's, uh...- Her culture.- Right?

1:09:52 > 1:09:54Yeah, agreed.

1:09:54 > 1:09:58- What's wrong with my acting? - Nothing.

1:09:58 > 1:10:00What do I need to do to make you admire me?

1:10:00 > 1:10:03Do I think too much? Huh?

1:10:03 > 1:10:04Am I too classical?

1:10:04 > 1:10:07Not liberated like Jo-Ann?

1:10:07 > 1:10:11- You're here to talk to me, so start talking.- Hmm?

1:10:11 > 1:10:14I don't know. You...

1:10:14 > 1:10:16You can't be as accomplished as you are

1:10:16 > 1:10:20and as well-rounded as an actress as you are

1:10:20 > 1:10:22and still expect to hold on to the privileges of youth.

1:10:22 > 1:10:24It just doesn't work like that.

1:10:24 > 1:10:26Oh!

1:10:26 > 1:10:27So I'm allowed to not be old,

1:10:27 > 1:10:30as long as I don't want to be young, is that it?

1:10:30 > 1:10:33Yeah. I don't know. I guess so.

1:10:34 > 1:10:36Yes. Totally. Well put.

1:10:40 > 1:10:41Fuck.

1:10:47 > 1:10:50I think, maybe, goodnight.

1:10:52 > 1:10:54Wait, wait! Wait.

1:10:54 > 1:10:57Hey. Hey...

1:10:57 > 1:10:59You... You didn't tell me how it went with Berndt.

1:11:02 > 1:11:06Yeah, well, you know, um, fuck Berndt.

1:11:06 > 1:11:09- I thought you wouldn't believe me anyway.- Try.

1:11:09 > 1:11:12Maybe you'll manage to persuade me.

1:11:12 > 1:11:14I'm...exhausted.

1:11:14 > 1:11:16I don't know. I don't have the energy.

1:11:17 > 1:11:20OK. Goodnight.

1:11:20 > 1:11:22Oh, I spoke to Jay.

1:11:22 > 1:11:25He doesn't think he can get me out of the contract.

1:11:27 > 1:11:29Yeah, I figured.

1:11:34 > 1:11:36Please knock when you enter my office.

1:11:38 > 1:11:39You summoned me.

1:11:39 > 1:11:42I didn't summon you. I asked you to come.

1:11:42 > 1:11:43What's the difference?

1:11:43 > 1:11:47There's differences. When I summon you, it's for professional reasons.

1:11:47 > 1:11:50When I ask you to come, it's for... personal reasons.

1:11:50 > 1:11:52- So it's personal?- Yes.

1:11:52 > 1:11:54All the more reason not to knock.

1:11:54 > 1:11:57Everyone knocks before coming into my office.

1:11:57 > 1:12:00I could have been in a meeting or in a private call.

1:12:00 > 1:12:03I'm surprised Josephine let you through.

1:12:03 > 1:12:06I told Josephine it didn't concern her. She understood perfectly well.

1:12:06 > 1:12:08Understood what?

1:12:08 > 1:12:10That we have a personal relationship.

1:12:10 > 1:12:12Since when does Josephine know

1:12:12 > 1:12:15that we have what you call a personal relationship?

1:12:15 > 1:12:17Don't be stupid. She has eyes.

1:12:17 > 1:12:21- You want me to draw you a picture? - Please don't draw me a picture.

1:12:22 > 1:12:25I thought it was between you and me.

1:12:25 > 1:12:26I'm appalled.

1:12:28 > 1:12:29Who else knows?

1:12:31 > 1:12:33I don't know,

1:12:33 > 1:12:37but in an office, word gets around pretty fast.

1:12:37 > 1:12:40You hired me as your personal assistant. I'm under-qualified.

1:12:42 > 1:12:45Everyone understood right away that I could come and go as I pleased.

1:12:45 > 1:12:48I created a vacuum around you, to keep my hold on you.

1:12:48 > 1:12:51Created a vacuum...

1:12:52 > 1:12:54..to keep your hold...?

1:12:58 > 1:13:00Don't you realise?

1:13:00 > 1:13:02No.

1:13:02 > 1:13:04I don't see things that way.

1:13:04 > 1:13:06Then everyone else got it before you did.

1:13:22 > 1:13:25Shall we stop here?

1:13:25 > 1:13:26Sure.

1:13:29 > 1:13:32Can you repeat Sigrid's last lines?

1:13:38 > 1:13:40Then everyone else got it before you did.

1:13:42 > 1:13:44Helena pauses and stares at Sigrid.

1:13:46 > 1:13:48What started at my place that night...

1:13:50 > 1:13:52..I won't deny a thing.

1:13:54 > 1:13:56I probably wanted it. I don't know.

1:13:58 > 1:14:01It's as if you put this idea in my head.

1:14:01 > 1:14:03If you allowed yourself to be manipulated,

1:14:03 > 1:14:05it's because you wanted it.

1:14:06 > 1:14:08- I don't want anything. - Stop!

1:14:08 > 1:14:11I can't stand that condescending tone of yours.

1:14:11 > 1:14:13You want to be clear? This can't go on.

1:14:13 > 1:14:16- Whatever you say. - It's... I've thought it over.

1:14:16 > 1:14:18- It's finished. - So I'll leave.

1:14:18 > 1:14:21No, you'll stay. You do your job well. I have no complaints.

1:14:24 > 1:14:26- I stay, and it's finished. - We stop.

1:14:26 > 1:14:28- And act as if it never happened. - Yes.

1:14:28 > 1:14:31Helena, you're not capable of that.

1:14:34 > 1:14:37If I stay, nothing will change. You'll be my lover.

1:14:37 > 1:14:42- No.- You will. And I'll keep driving everyone else away.

1:14:42 > 1:14:44I'll have a tighter and tighter hold on you.

1:14:44 > 1:14:46- Is that what you want? - No, not necessarily.

1:14:46 > 1:14:48I'm just telling you how it is.

1:14:48 > 1:14:51But if you want me to leave, just say so.

1:14:56 > 1:14:59She doesn't speak. Say it.

1:14:59 > 1:15:02It's time. End of Act 2.

1:15:07 > 1:15:10- You hungry?- Yeah.

1:15:15 > 1:15:17SHE LAUGHS

1:15:28 > 1:15:30You'll be my lover.

1:15:33 > 1:15:36I'll keep driving everyone else away.

1:15:36 > 1:15:38I'll have a tighter and tighter hold on you.

1:15:38 > 1:15:41Honestly, you don't find this ridiculous?

1:15:41 > 1:15:44- Why, cos she speaks brutally? - No, because it's phoney.

1:15:44 > 1:15:46I don't believe it.

1:15:47 > 1:15:50So, you don't think people can be blinded by their own emotions?

1:15:50 > 1:15:53No, I do, but not to that extent.

1:15:53 > 1:15:55It's too theoretical.

1:15:56 > 1:15:58Even a little stupid.

1:15:59 > 1:16:01It's theatre.

1:16:01 > 1:16:04It's an interpretation of life. It can be truer than life itself.

1:16:05 > 1:16:09Sigrid puts Helena's desires into words. She says the unspoken.

1:16:09 > 1:16:11She...formulates it.

1:16:11 > 1:16:13- Cruelly. - OK, cruelly.

1:16:13 > 1:16:16Yeah, cruelly, because she's up to no good.

1:16:16 > 1:16:19You're not in the character's skin. You... I have no choice.

1:16:19 > 1:16:21I have to be them. I have to identify with them.

1:16:21 > 1:16:23When it's phoney, I...I feel it.

1:16:23 > 1:16:24Viscerally.

1:16:26 > 1:16:28It can be, uh...

1:16:28 > 1:16:31literary, but still be true.

1:16:34 > 1:16:36I can feel the difference. I can hear it.

1:16:53 > 1:16:55GRASSHOPPERS CHIRP

1:16:59 > 1:17:01SHE SIGHS

1:17:01 > 1:17:04DISTANT BELLS

1:17:05 > 1:17:08BLEATING NEARBY

1:17:21 > 1:17:24- Maria.- Hmm?- We've got to go. Sun's about to go down.

1:17:30 > 1:17:33I know a short cut a little further up.

1:17:33 > 1:17:37It's steep, but, uh, it'll take us straight to Val Fex.

1:17:37 > 1:17:40- I thought Val Fex was that way. - No, no, no.

1:17:44 > 1:17:46You're sure this is the right path, huh?

1:17:46 > 1:17:49Well, actually, not really.

1:17:49 > 1:17:52I'm not even sure it's a path.

1:17:52 > 1:17:54Or we might have forked off somewhere, I don't know.

1:17:55 > 1:17:57I think you're right.

1:17:59 > 1:18:03I'm pretty sure Val Fex is, um...not this way.

1:18:06 > 1:18:08Anyway, we're heading down. We'll end up somewhere.

1:18:11 > 1:18:13I think this road takes us to Maloja.

1:18:13 > 1:18:15CHURCH BELLS RING NEARBY

1:18:15 > 1:18:18What do we do when we get to Maloja?

1:18:19 > 1:18:20We take the bus.

1:18:25 > 1:18:29You know, you don't have to keep me on if you find my ideas simplistic.

1:18:31 > 1:18:32What makes you say that?

1:18:33 > 1:18:36If you find my point of view...

1:18:36 > 1:18:38..uninteresting, I...

1:18:40 > 1:18:42I don't really know what I'm doing here. I...

1:18:43 > 1:18:46I can run lines with you, but I don't really see the point.

1:18:46 > 1:18:48You can find anyone to do that.

1:18:48 > 1:18:50No, all I'm saying is that thinking about a text

1:18:50 > 1:18:53is different from living it. It's nothing against you.

1:18:53 > 1:18:55You...

1:18:55 > 1:18:57You hate the play. You hate her.

1:19:00 > 1:19:03You don't have to take it out on me.

1:19:03 > 1:19:04I'm just doing my job.

1:19:18 > 1:19:19Ready?

1:19:21 > 1:19:22- You're ready?- Yes!

1:19:29 > 1:19:31Don't lie to me!

1:19:31 > 1:19:35You received a confirmation for a flight to Tokyo.

1:19:35 > 1:19:37You're reading my mail now? Aren't you ashamed?

1:19:37 > 1:19:39I haven't felt shame in a long time.

1:19:39 > 1:19:42I went through all your desk drawers, your notebooks,

1:19:42 > 1:19:44and I'm doing it because you want to leave me.

1:19:44 > 1:19:46Now I know when and how.

1:19:46 > 1:19:50Helena is restless. Sigrid remains poised.

1:19:50 > 1:19:52All you had to do was ask.

1:19:52 > 1:19:55Yes, I accepted a job in Tokyo. A pharmaceutical lab.

1:19:55 > 1:19:57I think it'll be much more interesting

1:19:57 > 1:19:58than the work I'm doing here.

1:19:58 > 1:20:01More interesting than what you're doing here?

1:20:01 > 1:20:05Haven't I given into every demand you've made?

1:20:05 > 1:20:06No other company would have given you

1:20:06 > 1:20:08that kind of responsibility and power!

1:20:08 > 1:20:10Exactly.

1:20:10 > 1:20:13It's weighing on me.

1:20:13 > 1:20:15I know this place in and out.

1:20:15 > 1:20:19The world moves. I want to feel that. I want to be a part of it.

1:20:19 > 1:20:22I want to travel. Switzerland's too provincial.

1:20:22 > 1:20:24SHE SCREAMS

1:20:35 > 1:20:38She takes a deep breath and regains her composure.

1:20:38 > 1:20:40And with me you don't feel free?

1:20:40 > 1:20:43You've become too dependent on me.

1:20:43 > 1:20:46It's unhealthy. What do I get in return?

1:20:46 > 1:20:48I give you whatever you want. You know that.

1:20:48 > 1:20:53Oh. Like a job at a dead-end company that's about to go down the drain?

1:20:53 > 1:20:55How could you say a thing like that?

1:20:55 > 1:20:57Open your eyes, my poor Helena.

1:20:57 > 1:20:59I'm not your poor Helena!

1:20:59 > 1:21:02Nothing I've learned here is of any use to me.

1:21:02 > 1:21:03I'm not your poor Helena!

1:21:03 > 1:21:05You'll never last.

1:21:05 > 1:21:08You should listen to what the bankers are telling you.

1:21:08 > 1:21:09And your board members.

1:21:09 > 1:21:11That's not true!

1:21:11 > 1:21:12For God's sake.

1:21:14 > 1:21:18Oh, this relationship between these women, it's... It's...

1:21:18 > 1:21:20Fuck. It's disturbing.

1:21:20 > 1:21:21Disturbing.

1:21:21 > 1:21:24Nowadays people say disturbing about everything,

1:21:24 > 1:21:26even the most conventional ideas.

1:21:26 > 1:21:27Anyway, it's, uh...

1:21:27 > 1:21:29It's a male fantasy.

1:21:29 > 1:21:31Uh, no, it's not.

1:21:31 > 1:21:34I don't know why I should be helping to bring it alive.

1:21:34 > 1:21:37I bet you weren't saying stuff like this when you were playing Sigrid.

1:21:37 > 1:21:39I was a kid when I was playing Sigrid.

1:21:39 > 1:21:42I wasn't asking those kind of questions.

1:21:42 > 1:21:46- Like Jo-Ann in her science-fiction film.- Yeah, probably.

1:21:48 > 1:21:50Don't you want to get that innocence back?

1:21:50 > 1:21:52You can't get innocent twice.

1:21:52 > 1:21:56You can. If you just accepted Helena the way you accepted Sigrid.

1:21:56 > 1:22:00Obviously, it's easier to relate to strength rather than weakness.

1:22:00 > 1:22:02Youth is better than maturity.

1:22:02 > 1:22:05Cruelty is cool, suffering sucks.

1:22:06 > 1:22:08But she's...

1:22:08 > 1:22:11She's mature and she's innocent.

1:22:11 > 1:22:14She's innocent in her own way. That's what I like about her.

1:22:19 > 1:22:21I'll make some coffee. You want some?

1:22:23 > 1:22:26Cruelty is cool and suffering sucks.

1:22:44 > 1:22:46You didn't answer me.

1:22:46 > 1:22:48You have your interpretation of the play.

1:22:48 > 1:22:50I think mine's just confusing you.

1:22:51 > 1:22:53It's frustrating me.

1:22:54 > 1:22:56It's uncomfortable.

1:22:56 > 1:22:57It's not good.

1:23:05 > 1:23:07Stay.

1:23:10 > 1:23:12No. No.

1:23:12 > 1:23:14Please, stay.

1:23:15 > 1:23:17I need you.

1:23:32 > 1:23:34CHAMBER MUSIC PLAYS

1:23:43 > 1:23:46THEY PLAY CHAMBER MUSIC

1:24:54 > 1:24:58- Thank you.- I prefer 18th-century music to any other.

1:24:58 > 1:25:00It's so bright and lively.

1:25:00 > 1:25:04Yeah, me, too. Romantic music is so sad and depressing.

1:25:04 > 1:25:07But I'd rather listen to rock music any day of the week, though.

1:25:07 > 1:25:09- Even the worst.- Not me.

1:25:09 > 1:25:11I've heard too much of it. I'm sick of it.

1:25:11 > 1:25:14Well, you're such a snob!

1:25:14 > 1:25:17No. Tastes can get worn out, kind of like desire.

1:25:19 > 1:25:22I've never listened to Handel properly. I think he's excellent.

1:25:22 > 1:25:25I haven't been this moved by music in ages.

1:25:25 > 1:25:26SHE SCOFFS

1:25:26 > 1:25:28You're making fun of me.

1:25:28 > 1:25:30I'm not, but I just...

1:25:31 > 1:25:35I find it really cute that you're trying to fit in with my ideas.

1:25:35 > 1:25:37But you know I'm not a music whiz.

1:25:37 > 1:25:40I mean, besides what my family practically spoon-fed me,

1:25:40 > 1:25:42which is incredibly specialised,

1:25:42 > 1:25:44I don't know a thing about music.

1:25:46 > 1:25:48Thank you.

1:25:48 > 1:25:51So, how'd it go with your wife?

1:25:51 > 1:25:53Really well.

1:25:53 > 1:25:55No, I'm kidding. It was horrible.

1:25:55 > 1:25:56But, you know, she's...

1:25:56 > 1:25:59she's not the type to wear her heart on her sleeve.

1:25:59 > 1:26:01I think she was expecting it.

1:26:01 > 1:26:04- Did you tell her about me? - No, I said, you know,

1:26:04 > 1:26:07I'd be going off on my own to write my book and wouldn't be back.

1:26:07 > 1:26:09She must be suspecting something.

1:26:09 > 1:26:11She has no idea you and I know each other.

1:26:11 > 1:26:14Well, she will. I mean, once it hits the tabloids.

1:26:14 > 1:26:17- They're not going to find us here. - They're going to find us anywhere.

1:26:17 > 1:26:19It's their job, you know?

1:26:19 > 1:26:21Did you say anything to Maria Enders?

1:26:21 > 1:26:22Just that I would be taking advantage

1:26:22 > 1:26:26- of my press tour and come say hi. - She didn't find that strange?

1:26:26 > 1:26:27I talked to her assistant,

1:26:27 > 1:26:30and she didn't seem to question it, so I guess not.

1:26:40 > 1:26:43LOUD MUSIC PLAYS

1:26:45 > 1:26:47Hey. There she is, just there.

1:26:47 > 1:26:49- Hi.- Hi. Hi.

1:26:49 > 1:26:51- Nice to meet you. - Nice to meet you, too.

1:26:51 > 1:26:53- Wow.- What?

1:26:53 > 1:26:56- I never would have recognised you.- Really?

1:26:56 > 1:26:59I mean, if you've only seen me on the internet or in movies,

1:26:59 > 1:27:01- that's not really a big surprise. - Still, it's a little weird.

1:27:01 > 1:27:04You, on the other hand, look exactly like all your roles.

1:27:04 > 1:27:06I hope not all of them!

1:27:06 > 1:27:09No, no, no. Only the better, only the better ones.

1:27:09 > 1:27:11Rest assured, you don't look like Nemesis.

1:27:11 > 1:27:14This is Chris. He's a... He's a novelist.

1:27:14 > 1:27:16Hi. Nice to meet you, Chris. My assistant.

1:27:16 > 1:27:19Hey. It's so good to meet both of you. Seriously.

1:27:19 > 1:27:20Yeah.

1:27:20 > 1:27:23Hello. May I get you anything to drink?

1:27:23 > 1:27:25- A cognac for me, please. - Yeah?

1:27:25 > 1:27:27- I'll have the same.- OK.

1:27:27 > 1:27:29- I'm fine, thanks. - All right.

1:27:29 > 1:27:31What herbal teas do you have?

1:27:31 > 1:27:33We have vervain, mint and chamomile.

1:27:33 > 1:27:36- Um, can I get a chamomile, please? - Yeah, sure.

1:27:36 > 1:27:37Thank you.

1:27:38 > 1:27:43I don't think you understand how much of an honour this is for me.

1:27:43 > 1:27:45When I was 15, I saw...

1:27:45 > 1:27:49Oh, my God, the movie you did with the CIA and Harrison Ford.

1:27:49 > 1:27:51- I'm so sorry. I'm blanking. - Um... Beetle On Its Back.

1:27:51 > 1:27:53A Beetle On Its Back, with Harrison Ford.

1:27:53 > 1:27:55You blew my mind.

1:27:55 > 1:27:57You... You...

1:27:57 > 1:27:58You were the epitome of class.

1:27:58 > 1:28:01You were everything I ever wanted to be as an actress.

1:28:01 > 1:28:04And I mean, the way that you battled those politicians

1:28:04 > 1:28:06and the military brass men, it was captivating.

1:28:06 > 1:28:09It was my first Hollywood film. I was a little lost.

1:28:09 > 1:28:13Um...Sydney Pollack was really nice,

1:28:13 > 1:28:15but sometimes I didn't understand what he was saying,

1:28:15 > 1:28:17so I was too shy to ask.

1:28:17 > 1:28:19But, fortunately, Harrison was there to help.

1:28:19 > 1:28:22A lot.

1:28:22 > 1:28:23ALL CHUCKLE

1:28:23 > 1:28:25Well, then, of course, after that,

1:28:25 > 1:28:28I begged my parents to let me see you on stage, in The Seagull.

1:28:28 > 1:28:32And they didn't know who you were before then, because,

1:28:32 > 1:28:34well, they kind of hate movies.

1:28:34 > 1:28:37- Well, I hope they tolerate the theatre.- No, no, no.

1:28:37 > 1:28:40They don't just tolerate the theatre. I mean, they're absolutely in love with it.

1:28:40 > 1:28:43In fact, they see everything and...and...

1:28:43 > 1:28:45Well, you know, when they saw your performance,

1:28:45 > 1:28:47they said it was the best Nina they'd ever seen.

1:28:47 > 1:28:49And that meant a lot to me.

1:28:49 > 1:28:52Because after... You know, before that I...

1:28:52 > 1:28:55I'd never been able to tell them that I wanted to be an actress.

1:28:55 > 1:28:58But because of you, I could pursue my vocation.

1:28:58 > 1:29:00I prefer your early French films.

1:29:00 > 1:29:04There was a cycle at the ICA in London. I saw almost all of them.

1:29:04 > 1:29:06And you came. You probably don't remember.

1:29:06 > 1:29:09Oh, I remember perfectly well.

1:29:09 > 1:29:13I was fascinated by how freely you spoke about your work.

1:29:13 > 1:29:17And, um, yet someone asked you if you had any regrets,

1:29:17 > 1:29:20and you said, "We're not allowed to regret anything.

1:29:20 > 1:29:23"If we're sincere, then we're the sum total of our experiences,

1:29:23 > 1:29:25"with no exceptions."

1:29:25 > 1:29:27I said that?

1:29:27 > 1:29:29Well, not word for word. Something like that.

1:29:29 > 1:29:32- You don't think that any more? - Oh, I... No.

1:29:32 > 1:29:36I completely agree with that, 100%.

1:29:36 > 1:29:38ALL LAUGH

1:29:40 > 1:29:43You know, I am incredibly intimidated to take on your role.

1:29:43 > 1:29:46I mean, no-one's going to be able to do it like you did.

1:29:46 > 1:29:49- I hope you don't judge me too harshly.- Oh.

1:29:49 > 1:29:51We all have our own way into a character. They're all good.

1:29:51 > 1:29:54Well, I cannot wait to do the read-through tomorrow.

1:29:54 > 1:29:57We'll work in Wilhelm's chalet. I hope that's OK with you?

1:29:57 > 1:29:58Yeah, sure, as long as his ghost

1:29:58 > 1:30:00isn't watching over us the entire time.

1:30:00 > 1:30:04I can't promise you that, but don't worry. He's a well-meaning ghost.

1:30:04 > 1:30:07Ooh. Well-meaning? I don't know about that.

1:30:07 > 1:30:08Nor do I.

1:30:08 > 1:30:10THEY CHUCKLE

1:30:10 > 1:30:14You know, it's incredibly brave of you to take on the role of Helena.

1:30:14 > 1:30:18It's... It's a way of dealing with time.

1:30:18 > 1:30:21Yes, well, I don't know, sometimes I...

1:30:22 > 1:30:25..I tell myself that it's just a job.

1:30:25 > 1:30:28And I'll be happy to move on when it's over.

1:30:29 > 1:30:31Hey. Thank you.

1:30:31 > 1:30:34You still want to see the snake you asked me the other day?

1:30:34 > 1:30:38- Oh, yeah.- The weather they're predicting for tomorrow seems ideal.

1:30:38 > 1:30:41So you better make sure you're out there at daybreak.

1:30:41 > 1:30:43It's wonderful to see it coming over the Maloja Pass.

1:30:43 > 1:30:45Great. Awesome. That's amazing.

1:30:45 > 1:30:47- Thank you.- OK.

1:30:48 > 1:30:50I thought they were really nice.

1:30:52 > 1:30:53It's true. I...

1:30:53 > 1:30:57She's a lot more interesting than the person you described.

1:30:57 > 1:30:59I didn't know her parents were musicians.

1:30:59 > 1:31:01I liked him, too. He's...

1:31:01 > 1:31:03SHE SCOFFS

1:31:03 > 1:31:06What's so funny? Did I say something funny?

1:31:07 > 1:31:10They spent the whole evening flattering you.

1:31:10 > 1:31:11Of course you liked them.

1:31:11 > 1:31:14- That has nothing to do with it. - No, no. Of course not.

1:31:14 > 1:31:16MARIA LAUGHS

1:31:24 > 1:31:26What was that movie again?

1:31:26 > 1:31:28THEY LAUGH

1:31:28 > 1:31:30LAUGHING: Beetle On Its Back!

1:31:30 > 1:31:33What was that movie? Beetle on Its Back!

1:31:33 > 1:31:36MARIA LAUGHS, CLATTERING

1:31:36 > 1:31:38I can't believe we got this scoop tonight.

1:31:38 > 1:31:40What scoop?

1:31:40 > 1:31:42She's with Christopher Giles.

1:31:42 > 1:31:44Chris? His name is Christopher Giles?

1:31:44 > 1:31:47- Yes.- Is he famous?

1:31:47 > 1:31:50He's...uber-famous!

1:31:50 > 1:31:53I can't remember which major book prize he won, but...

1:31:55 > 1:31:59He's married. He's with Dorothea Von Duisburg, the German artist.

1:31:59 > 1:32:01She had a show at the Serpentine last year?

1:32:01 > 1:32:05THEY LAUGH

1:32:05 > 1:32:07Never heard of either of them.

1:32:09 > 1:32:11You should google him.

1:32:11 > 1:32:14How do you spell his name?

1:32:14 > 1:32:16Giles. G-I-L-E-S.

1:32:16 > 1:32:19Well, he's obviously with her.

1:32:20 > 1:32:21Yeah.

1:32:21 > 1:32:25When word gets out, it's going to be, like, a tsunami.

1:32:25 > 1:32:27SHE LAUGHS

1:32:27 > 1:32:29Well, yeah, on their planet.

1:32:29 > 1:32:31Their planet has a name.

1:32:31 > 1:32:34It's called the real world. Welcome!

1:32:34 > 1:32:36SHE LAUGHS

1:32:36 > 1:32:39Careful with that. Come here. Give that to me.

1:32:41 > 1:32:42Here.

1:32:53 > 1:32:56WIND HOWLS

1:32:57 > 1:33:01I spent all night thinking about Helena's death.

1:33:01 > 1:33:02Her death?

1:33:02 > 1:33:06She doesn't necessarily die. She just... She disappears.

1:33:06 > 1:33:08That's your interpretation.

1:33:08 > 1:33:11Well, it's... It's pretty ambiguous.

1:33:11 > 1:33:14She goes out for a hike and never comes back.

1:33:14 > 1:33:16Seems clear enough to me.

1:33:16 > 1:33:20You don't know that. She could reinvent herself somewhere else.

1:33:20 > 1:33:21There's really no way of knowing.

1:33:21 > 1:33:23Yeah, you can imagine whatever you want.

1:33:23 > 1:33:25Are we going the right way?

1:33:25 > 1:33:28I mean, I don't mind waking up at the crack of dawn,

1:33:28 > 1:33:31but not to get lost in the mountains and miss the snake.

1:33:31 > 1:33:33Well, we're basically here. You happy?

1:33:33 > 1:33:35What makes you think we're here?

1:33:35 > 1:33:38I've got a map! You want me to show you?

1:33:38 > 1:33:39Come here.

1:33:41 > 1:33:44This is the bend we just went around ten minutes ago.

1:33:44 > 1:33:47And just around there is the view of the valley. You see that?

1:33:47 > 1:33:50- How do you know?- How do...?

1:33:51 > 1:33:55Such a fucking pain in the ass. Jesus Christ.

1:33:56 > 1:33:58I don't know why you're so dead set on making this play

1:33:58 > 1:34:01say the opposite of what it was meant to say.

1:34:01 > 1:34:05At 20, you saw Sigrid's ambition and you saw her violence

1:34:05 > 1:34:07because you felt it in yourself.

1:34:07 > 1:34:12- So?- That's what I'm saying. The text is like an object.

1:34:12 > 1:34:15It's going to change perspective based on where you're standing.

1:34:15 > 1:34:17I don't know.

1:34:19 > 1:34:21We should go. We're going to miss the snake.

1:34:21 > 1:34:23There won't be any snake.

1:34:25 > 1:34:27Fuck it.

1:35:15 > 1:35:17Look there!

1:35:18 > 1:35:20Is that the snake?

1:35:21 > 1:35:24No.

1:35:24 > 1:35:26No, it's just mist.

1:35:26 > 1:35:28A little fog.

1:35:28 > 1:35:30But it breaks up.

1:35:33 > 1:35:35Still pretty beautiful though.

1:35:35 > 1:35:39It's like it's gathering and pouring out into the valley.

1:35:41 > 1:35:43Maybe it is the snake.

1:35:45 > 1:35:47We have to be patient.

1:35:49 > 1:35:52No, it's not the snake.

1:35:52 > 1:35:54Oh, yes!

1:35:54 > 1:35:57I think it's turning into the snake!

1:35:57 > 1:35:59How about you?

1:36:00 > 1:36:01Val?

1:36:03 > 1:36:05What the hell are you doing?

1:36:07 > 1:36:09Val?

1:36:10 > 1:36:12Val!

1:36:13 > 1:36:14Val!

1:36:16 > 1:36:18Val!

1:36:21 > 1:36:23Val!

1:36:23 > 1:36:25Answer me!

1:36:27 > 1:36:29Val!

1:36:32 > 1:36:34Val!

1:36:45 > 1:36:49MUSIC: Pachelbel's Canon

1:37:53 > 1:37:56How's the hotel?

1:37:56 > 1:37:59The hotel's fine. Oh, thanks for the flowers.

1:37:59 > 1:38:02So, did you reach Klaus? He was really impatient to see you.

1:38:02 > 1:38:04You have to return his calls, you know.

1:38:04 > 1:38:05He thinks you're avoiding him.

1:38:05 > 1:38:08We're having dinner. He's a half hour late.

1:38:08 > 1:38:10Oh, so you called me to kill time?

1:38:10 > 1:38:12Just kidding.

1:38:12 > 1:38:15I'm not avoiding him I...I want to talk to him one-on-one.

1:38:15 > 1:38:18You know how reluctant I was. I'm over that now.

1:38:18 > 1:38:21You know, Klaus understands the risks you're taking.

1:38:21 > 1:38:22I know he's sincere.

1:38:22 > 1:38:24He's doing this for you and for Wilhelm's memory.

1:38:24 > 1:38:26And for the publicity.

1:38:26 > 1:38:2920 years after being Sigrid, I'm Helena.

1:38:29 > 1:38:31That's all the press is talking about.

1:38:31 > 1:38:34You know, he's like every artist of his generation.

1:38:34 > 1:38:36He has a flair for PR.

1:38:36 > 1:38:38Oh, and is that a crime?

1:38:38 > 1:38:42To excel and to know how to show it is to excel twice.

1:38:42 > 1:38:44Baltasar Gracian said that.

1:38:44 > 1:38:48I have no idea who that is, but he was right.

1:38:48 > 1:38:50The press is talking about you and your work.

1:38:50 > 1:38:52Oh, I said OK to pictures.

1:38:52 > 1:38:54No interviews. It's too soon, too fragile.

1:38:54 > 1:38:56PHONE RINGS Hold on.

1:38:56 > 1:38:58Yes?

1:39:00 > 1:39:02Tell him I'm on my way down.

1:39:02 > 1:39:03Thank you.

1:39:04 > 1:39:07- It's Klaus. - You'll be fine.

1:39:10 > 1:39:11Hi.

1:39:13 > 1:39:15- Hi.- Hi. Excuse me, I'm late.

1:39:15 > 1:39:17But something terrible has happened.

1:39:17 > 1:39:20Dorothea tried to commit suicide. She's in a coma.

1:39:20 > 1:39:22Dorothea?

1:39:22 > 1:39:24Christopher Giles's wife.

1:39:24 > 1:39:27Chris... Um, Jo-Ann's friend, you mean?

1:39:27 > 1:39:30Yes, but you are not supposed to know he's Jo-Ann's friend.

1:39:30 > 1:39:32Well, they were together in Sils, so...

1:39:32 > 1:39:36I thought it was more recent than that. Excuse me, sir. We can go.

1:39:36 > 1:39:39Well, she slit her wrists in her studio.

1:39:39 > 1:39:43The housekeeper found her in a pool of her own blood.

1:39:43 > 1:39:44Oh, that's awful.

1:39:46 > 1:39:48She's a well-known artist, right?

1:39:48 > 1:39:50Dorothea is an amazing girl.

1:39:50 > 1:39:52Beautiful, talented,

1:39:52 > 1:39:54everything going for her.

1:39:54 > 1:39:56I love her work.

1:39:56 > 1:39:58I don't understand.

1:39:58 > 1:40:00Jo-Ann is devastated.

1:40:00 > 1:40:02She was at an exhibition.

1:40:02 > 1:40:04She can't go back to the hotel.

1:40:04 > 1:40:07The paparazzi have surrounded the place.

1:40:07 > 1:40:10I suggested she join us. You don't mind?

1:40:10 > 1:40:12No, of course not.

1:40:34 > 1:40:36MUTED CONVERSATION

1:40:43 > 1:40:46It was still just a rumour, but the press knew something was up.

1:40:46 > 1:40:49Someone posted in her blog that it was the real reason

1:40:49 > 1:40:52that Jo-Ann had accepted to do a play in London.

1:40:52 > 1:40:55- And is that true?- She doesn't need a pretext to act in London,

1:40:55 > 1:40:57but the paparazzi will never let go.

1:40:57 > 1:41:00They need a picture with Christopher. They're going wild.

1:41:06 > 1:41:08She's in her car. She'll be here in five minutes.

1:41:12 > 1:41:15- You wanted to talk to me? - Sorry. I'm confused.

1:41:16 > 1:41:19I had a long conversation with Rosa last night.

1:41:19 > 1:41:21I told her you were in London,

1:41:21 > 1:41:24that we were about to start rehearsals.

1:41:24 > 1:41:25That made her happy, I think.

1:41:25 > 1:41:28Now all we have to do is not disappoint her.

1:41:31 > 1:41:34- Um, let's take Chateau Larousse. - Thank you.

1:41:34 > 1:41:38Rosa gave me fragments from Wilhelm's follow-up to Maloja Snake.

1:41:38 > 1:41:40A sign of her trust.

1:41:40 > 1:41:43Some of the pages make no sense out of context,

1:41:43 > 1:41:47but there are a few others that put the play in a new light.

1:41:47 > 1:41:49How old was Wilhelm when he wrote Maloja Snake?

1:41:49 > 1:41:5135 or so? How...?

1:41:51 > 1:41:53Hmm. 38.

1:41:53 > 1:41:56- 38?- Yeah. Little older when he made the film.

1:41:56 > 1:41:59He was still a young man. All action.

1:41:59 > 1:42:0225 years later, obviously, he was more analytical,

1:42:02 > 1:42:05trying to put things in perspective, maybe thinking about posterity.

1:42:05 > 1:42:07Who knows?

1:42:07 > 1:42:10Isn't it better to stay faithful to his youthful energy?

1:42:10 > 1:42:12- And forget the new scenes? - Yes.

1:42:14 > 1:42:17Wilhelm never had any distance or maturity.

1:42:17 > 1:42:20On the contrary, his last texts got bolder and bolder

1:42:20 > 1:42:22and more and more enigmatic.

1:42:24 > 1:42:26Here's another way of looking at it.

1:42:26 > 1:42:28We think like him.

1:42:28 > 1:42:31We... We project ourselves into the future

1:42:31 > 1:42:34instead of freezing ourselves in the past so that we...

1:42:34 > 1:42:37- Jo-Ann. - Hi.

1:42:37 > 1:42:40- What's happening? - She's hanging on by a thread.

1:42:40 > 1:42:43She's lost a lot of blood, but the doctors won't tell us anything.

1:42:43 > 1:42:46I mean, Chris said she was really relaxed when he told her.

1:42:46 > 1:42:48She was just getting used to the new situation.

1:42:48 > 1:42:49Where's Christopher?

1:42:49 > 1:42:52Dorothea's family got home from Germany, so he...

1:42:52 > 1:42:55They told him to leave the hospital, so he's going to come join us.

1:42:55 > 1:42:57Here? But that's ridiculous.

1:42:57 > 1:42:59He will have all the paparazzi from the hospital on his trail.

1:42:59 > 1:43:02No. He said there were no paparazzi. He'd know.

1:43:02 > 1:43:04He's being naive. Of course they're tailing him.

1:43:04 > 1:43:06They're just doing it discreetly.

1:43:06 > 1:43:08Tell him absolutely not to join us.

1:43:13 > 1:43:16His... His voice mail's turned off. I'll just text him.

1:43:17 > 1:43:20If they follow him here, we are stuck.

1:43:20 > 1:43:23- Do you have your driver? - Yeah. He's outside.

1:43:24 > 1:43:26OK. Tell Christopher to meet us at my club.

1:43:26 > 1:43:29At least we'll have some peace and quiet.

1:43:29 > 1:43:30- Here's the address.- Chris!

1:43:30 > 1:43:32Hey, hey...

1:43:32 > 1:43:34Are you all right?

1:43:34 > 1:43:37- Did you get my messages?- Um...

1:43:37 > 1:43:40Klaus thinks the paparazzi are following you from the hospital.

1:43:40 > 1:43:43I don't know. I...I didn't see any.

1:43:43 > 1:43:46They can't get a picture of us tonight. It'd be a total disaster.

1:43:46 > 1:43:49It'd spread like wildfire. I'm going to call my driver.

1:43:51 > 1:43:53Hey. Will you come pick us up?

1:43:53 > 1:43:56- All right.- Here.

1:43:56 > 1:43:58The address of my club.

1:43:58 > 1:44:00We'll go first. Wait five minutes, take a taxi and join us.

1:44:07 > 1:44:09CAMERA SHUTTERS CLICK

1:44:13 > 1:44:15ENGINE TURNS

1:44:15 > 1:44:17TYRES SCREECH

1:44:19 > 1:44:22ENGINE TURNS

1:44:25 > 1:44:27MOBILE RINGS

1:44:27 > 1:44:29Fuck, they're following us.

1:44:30 > 1:44:32Hey, Ari?

1:44:32 > 1:44:34No, there's no news here from the hospital.

1:44:34 > 1:44:37Yeah, I could really use you right now.

1:44:37 > 1:44:39Whatever the first plane out is.

1:44:39 > 1:44:42I'm stuck here in London till the end of the year.

1:44:42 > 1:44:44Rehearsals start tomorrow.

1:44:44 > 1:44:46If she doesn't make it,

1:44:46 > 1:44:49it's going to be a nuclear fucking winter.

1:44:49 > 1:44:52What do you want to do? Change hotels?

1:44:52 > 1:44:56No way. Wherever I go, they're just going to find me and chase me down.

1:44:56 > 1:44:58I'd rather just stay where I am.

1:44:58 > 1:45:00You know, it's... I'm fine with it.

1:45:00 > 1:45:02It'll just be hard for Chris.

1:45:02 > 1:45:05- The media is going to crucify him. - No, no.

1:45:05 > 1:45:08I'll take the heat. I'll be the home wrecker.

1:45:08 > 1:45:10I'm used to getting nasty shit written about me.

1:45:10 > 1:45:11I couldn't honestly care less.

1:45:11 > 1:45:15You want us to cancel tomorrow's rehearsal? Maria, would you mind?

1:45:15 > 1:45:17- No, of course not, no. - No way.

1:45:17 > 1:45:19No, no, no.

1:45:19 > 1:45:20I'd rather work.

1:45:25 > 1:45:27- We didn't get to talk much.- No.

1:45:27 > 1:45:31I'll have the new scenes dropped off at the front desk.

1:45:31 > 1:45:33And we'll talk about them seriously.

1:45:33 > 1:45:36Yeah, we can do that tomorrow, after rehearsal.

1:45:36 > 1:45:39Mmm, I'm drained after a workday. It's not the best time for me.

1:45:39 > 1:45:42I know. Same for me.

1:45:42 > 1:45:46And next weekend I have to see my kids in southern Italy.

1:45:47 > 1:45:48We'll manage.

1:45:48 > 1:45:50OK, goodnight.

1:45:50 > 1:45:51Goodnight.

1:46:00 > 1:46:03When they tell me about you, how much they appreciate you,

1:46:03 > 1:46:06it's to remind me how happy they are

1:46:06 > 1:46:08to grant you what they never granted me.

1:46:08 > 1:46:11KNOCK AT DOOR They're using you...

1:46:23 > 1:46:25Hi. I printed everything out.

1:46:25 > 1:46:27- Thanks.- If you want an English solicitor

1:46:27 > 1:46:29to take a look at the papers, tell me.

1:46:29 > 1:46:32I know a bilingual girl who specialises in Paris real estates.

1:46:34 > 1:46:35That's the sales agreements.

1:46:35 > 1:46:38Your ex-husband is buying your half of the apartment

1:46:38 > 1:46:39for the price you agreed to.

1:46:39 > 1:46:42No, I didn't want to discuss it. Maybe I was wrong.

1:46:42 > 1:46:45That's the sales agreement for the studio on Rue du Chemin Vert.

1:46:45 > 1:46:48Yeah. It's expensive, but it's worth it.

1:46:48 > 1:46:51- So it's ready to sign? - Tomorrow, as planned.

1:46:51 > 1:46:54You take the Eurostar at 8.15, leave Paris at 5.00,

1:46:54 > 1:46:56and you'll be back in London in time for dinner.

1:46:56 > 1:47:00- OK.- If you want, I can travel with you.- No, I'm fine.

1:47:04 > 1:47:06What do I tell Piers Roaldson?

1:47:06 > 1:47:08Remind me who he is.

1:47:08 > 1:47:12He's shooting a film next summer called Electric Shockwave.

1:47:12 > 1:47:14What's he done?

1:47:14 > 1:47:16Nothing. He's 25.

1:47:16 > 1:47:19But Jay says it's good and that it's been green-lit.

1:47:19 > 1:47:23- What's the part? - They haven't sent it over yet.

1:47:23 > 1:47:24It's the lead.

1:47:24 > 1:47:27I think your character would be some sort of...hybrid.

1:47:29 > 1:47:32Mm, a creation of modern genetics, but with a soul.

1:47:32 > 1:47:35It's set in the near future, the 23rd century.

1:47:35 > 1:47:37On Earth?

1:47:37 > 1:47:39Maybe. I'm not sure.

1:47:41 > 1:47:44Hello. Over there, please.

1:47:44 > 1:47:47Thank you.

1:47:47 > 1:47:50Well, tell Piers I'm interested, and I'll read the script next week.

1:47:50 > 1:47:52OK?

1:47:52 > 1:47:54And, uh, there are the new scenes Klaus sent you.

1:47:54 > 1:47:57- Ah, yes, I forgot. - You want to run the lines?

1:47:57 > 1:48:00No. I haven't read the pages yet.

1:48:00 > 1:48:04- He wants to know what you think. - Why doesn't he just call me?

1:48:04 > 1:48:06Maybe he's waiting for your reaction.

1:48:06 > 1:48:08You've had the scenes for two weeks.

1:48:08 > 1:48:10I understand.

1:48:10 > 1:48:13But I'd rather discover them at the last minute and not overthink it.

1:48:13 > 1:48:16It's the only way I can keep it spontaneous.

1:48:16 > 1:48:19That's how I, um, prepared Sigrid 20 years ago.

1:48:19 > 1:48:21I'll do the same thing with Helena.

1:48:22 > 1:48:26If he asks you, just tell him I think they're very good.

1:49:22 > 1:49:26- KLAUS:- Very good, but it's still a little long.

1:49:26 > 1:49:28- Jo-Ann, can you hear me? - Uh, yeah.

1:49:28 > 1:49:31- Do the same thing, but speed it up a little.- OK.

1:49:31 > 1:49:34Why don't you just forget one of the files? There are plenty.

1:49:34 > 1:49:36- We do it one more time. - OK.

1:49:40 > 1:49:41Excuse me.

1:49:41 > 1:49:44- Tomorrow is our final dress rehearsal.- I know.

1:49:44 > 1:49:46- Thanks for taking the time. - My pleasure.

1:49:46 > 1:49:49I'll just switch this on.

1:49:49 > 1:49:52Uh, may I have a cup of coffee, please?

1:49:52 > 1:49:54You can imagine my first question.

1:49:54 > 1:49:59Will the media frenzy around Jo-Ann Ellis steal the spotlight?

1:49:59 > 1:50:02All that matters is the show. The rest is of no importance.

1:50:02 > 1:50:05And fortunately, Dorothea pulled through.

1:50:05 > 1:50:09I know you have a new take on it, but will the audience be receptive

1:50:09 > 1:50:10or might they be too distracted?

1:50:10 > 1:50:12I suppose that's my question.

1:50:12 > 1:50:14I hope they'll be receptive.

1:50:14 > 1:50:16So you think the shows are airtight?

1:50:16 > 1:50:19No connection to the outside world.

1:50:19 > 1:50:20No.

1:50:20 > 1:50:23No, each theatregoer brings his own subjectivity.

1:50:23 > 1:50:27And it's generally not defined by tabloid headlines.

1:50:27 > 1:50:29Some will go for the smell of scandal.

1:50:29 > 1:50:32So will they see the show you had in mind, or something else?

1:50:34 > 1:50:37- Jo-Ann? - What's up?

1:50:37 > 1:50:38I wanted to ask you...

1:50:38 > 1:50:41You know the scene at the beginning of Act 3

1:50:41 > 1:50:43when you tell me you want to leave

1:50:43 > 1:50:45and I get on my knees and beg you to stay?

1:50:45 > 1:50:47You're on the phone ordering pepperoncino pizza

1:50:47 > 1:50:49for your co-workers in Accounting.

1:50:49 > 1:50:52Well, you...you leave without looking at me,

1:50:52 > 1:50:55as if I didn't exist.

1:50:55 > 1:50:57Um...

1:50:57 > 1:50:59if you could pause for a second, you know,

1:50:59 > 1:51:03Helena's distress would last longer when she's left alone in her office.

1:51:05 > 1:51:08Well, the way you're playing it, um,

1:51:08 > 1:51:09the audience follows you out,

1:51:09 > 1:51:12but instantly forgets about her, so...

1:51:12 > 1:51:15So... So what?

1:51:15 > 1:51:18Well, when I played Sigrid, I...I held it longer.

1:51:18 > 1:51:22I thought it was more powerful, dramatically.

1:51:22 > 1:51:23I mean, it really played well.

1:51:23 > 1:51:27Well, no-one really gives a fuck about Helena at that point, do they?

1:51:27 > 1:51:29I'm sorry, but I mean, it's pretty clear to me

1:51:29 > 1:51:31this poor woman's all washed up.

1:51:31 > 1:51:33I mean, your character, right? Not you.

1:51:33 > 1:51:37And...when Sigrid leaves Helena's office,

1:51:37 > 1:51:39Helena is a wreck, and we get it.

1:51:39 > 1:51:42You know, it's time to move on.

1:51:42 > 1:51:45I think they want what comes next.

1:51:45 > 1:51:47If you just held it a few seconds longer.

1:51:47 > 1:51:50It doesn't really feel right for me, Maria.

1:51:50 > 1:51:53SHE LAUGHS

1:51:53 > 1:51:54You're right.

1:51:55 > 1:51:57Yeah.

1:51:57 > 1:51:59I, um...

1:52:00 > 1:52:03..I think I'm lost in my memories.

1:52:03 > 1:52:06You think you've forgotten your old habits,

1:52:06 > 1:52:08but they all...they all come back.

1:52:08 > 1:52:10I have to break them.

1:52:10 > 1:52:12- I guess you do. - SHE CHUCKLES

1:52:26 > 1:52:29Excuse me. I'm looking for Maria Enders' room?

1:52:31 > 1:52:32Thank you.

1:52:36 > 1:52:39- Hi. Come in.- Hi.

1:52:39 > 1:52:42Thanks so much for seeing me tonight. I really appreciate it.

1:52:42 > 1:52:46We're leaving early tomorrow morning for a location scout in the Ukraine.

1:52:46 > 1:52:48That's where we're going to be shooting our exteriors, mostly.

1:52:48 > 1:52:50So, I...I read your script.

1:52:50 > 1:52:52Yeah, well, um, I know we've never met,

1:52:52 > 1:52:57- but I actually wrote it with you in mind.- As a mutant?

1:52:57 > 1:53:00I'm trying to consider genetics from a more human point of view.

1:53:02 > 1:53:04When I was reading it, um,

1:53:04 > 1:53:06I imagined someone much younger.

1:53:06 > 1:53:08Maybe me younger, actually,

1:53:08 > 1:53:11but you're seeing me in movies that were made years ago.

1:53:11 > 1:53:13I've changed.

1:53:13 > 1:53:15She has no age.

1:53:15 > 1:53:19Or else she's every age at once, like all of us.

1:53:20 > 1:53:22Can I be frank?

1:53:23 > 1:53:26Maybe it's because I'm working with her, but...

1:53:26 > 1:53:30as I was reading it, I kept thinking about Jo-Ann.

1:53:30 > 1:53:33Yeah, well, personally,

1:53:33 > 1:53:35I never think about Jo-Ann Ellis.

1:53:35 > 1:53:39You're wrong. She's smart...and talented.

1:53:39 > 1:53:41She's modern, just like your character.

1:53:41 > 1:53:44My character isn't modern. Not in that way, anyway.

1:53:44 > 1:53:47She's...outside of time.

1:53:47 > 1:53:49Outside of time.

1:53:52 > 1:53:56- I don't understand. It's too abstract for me.- Sorry.

1:53:56 > 1:53:59I, uh... I don't like this era.

1:53:59 > 1:54:01You're wrong. It's yours.

1:54:01 > 1:54:03Hey, man, I didn't choose it.

1:54:03 > 1:54:07And if my era is Jo-Ann Ellis and viral internet scandals,

1:54:07 > 1:54:09I think I'm entitled to feel unrelated, aren't I?

1:54:11 > 1:54:12I mean, it's nothing against her.

1:54:12 > 1:54:14I guessed I just assumed you'd understand.

1:54:14 > 1:54:17KNOCK AT DOOR

1:54:17 > 1:54:18Curtain in five minutes.

1:54:18 > 1:54:20- How's the house?- Full.

1:54:23 > 1:54:29MUSIC: Pachelbel's Canon

1:54:29 > 1:54:31Take your cue, please.