Esther Kahn (2000) Movie Script

1
Esther Khan was born in
one of those dark, evil-smelling
streets, with strange corners
which lie about the docks.
It was a quiet street, which
seemed to lead nowhere but to
stand aside for some
not-quite-honest purpose of its own.
The blinds of some of these houses were
always drawn.
Shutters were nailed over some of the
windows.
Few people passed.
There were never many children playing in
the road.
The doors opened and shut quietly.
It's ready.
Can you do me another one please?
For the door over there?
What is it about?
Why are you so privy?
It's a mitzvah.
Put it there for a moment.
Excuse me please.
There is no.
Bible in English.
Of course there is.
And in German and in Russian too.
In all languages.
Once a long time ago in Egypt.
In Egypt, they took
72 of the best Jewish
scholars and they put
them in 72 small huts.
And in those huts, for years, they
translated the Bible.
All except a few words and lines that
can't be translated.
Why?
Because they can't make their hands
impure.
What other lines?
Oh, I can't remember.
They are hue, oh, they are whore,
and oh, some lines in Aramaic.
Anyway, there are things where
they can't decide whether it's
the letters themselves or what
they mean which is more important.
And that's why the Revchik has to write
them out in Hebrew.
And he has to be very meticulous.
If even one single letter
weren't written immaculately,
then it wouldn't protect
the house anymore.
It's me.
It's me.
When's it due?
All by tomorrow.
The rest by the end of the week.
I almost finished the suit.
Mama?
The Knappleher.
The Knappleher!
Rivka, take the trousers.
It's too depressing.
Esther, hurry, hurry.
Ow!
Watch out.
Trestle, Samuel.
Cut slowly and follow the marks.
Here.
Raise your left arm.
No, no.
The left one, please.
This is your left arm.
Ah, thank you.
The side of your heart.
That's it.
Don't move.
Pumba, what are you doing?
What?
What?
Rain.
Rain.
Rain?
Rain.
Ah, the rain.
Oh, the sky.
I'm going out.
Do you want to go out and play in the
rain?
No.
I know.
We have the honour to hear Mr Lohans
Oliphant declaring that Jewish or any
other settlers were entitled
to... He was a nice chap.
What's his name?
Sir Lohans Oliphant.
Is he Jewish, Mum?
Lawrence.
No, that's not Jewish.
Lawrence.
At night, after supper, the others used to
sit around the table, talking eagerly.
All these people, who had so many
interests in common, who thought of the
same things, cared for the same things,
seemed so fond of one another in an
instinctive way, sat there, night after
night, with the same attitudes,
always as eager for the events of today as
they had been for the events of yesterday.
Everything mattered to them immensely,
and especially their part in things.
Look!
Disgusting!
Is it hard to breathe?
Esther wasn't sure that she cared for them
more than she would care for other people.
Just one bath.
They were what she supposed real life was.
And that was a thing in which she had only
a disinterested curiosity.
You're just jealous.
You're too young anyway.
Hey!
Did you see?
Look what she's doing.
She's imitating all of us.
Who are you imitating this time,
Esther?
Nobody.
Yes, you were.
You were doing like this.
I saw you.
Just pay no attention to her.
She's not a human child.
She's a monkey.
She lives with us.
So she has to snatch herself a soul.
Like monkeys do.
They might look like little people, but
they know they're not, so they try to be.
And that's why they're always people.
Where's your water?
Mary's Godmother's midday!
Esther was very angry.
She said to herself that
she would be more careful
in future not to show
anything that she was feeling.
It's not a whist of bread.
Howl!
Howl!
Howl!
Come on, Esther.
Eat it.
Eat it.
Eat it.
Howl!
Doggie, pipe up with Esther.
Eat, doggie.
Over here, Esther.
I hate you so much!
As an adolescent, Esther looked a woman.
She was large-boned, with very small hands
and feet, and her body seemed to be
generally asleep in a kind of brooding
lethargy.
She had her mother's hair, masses of it but
softer, with a faint natural wave in it.
Her face was oval, smooth in outline.
The lips were thick, red, strung like a
bow.
The eyes had no personal meaning in what
seemed to be their mystery.
They were fathomless.
With mere sleep.
The unconscious dream which is in the eyes
of animals.
The whole face seemed to await,
with an infinite Patience, some moulding
and awakening force which might have its
way with it.
It wanted nothing.
Anticipated nothing.
It waited.
Take off your jacket, please.
It's a cough.
Cough again.
Cough three.
Taken.
round the church for the gold five.
Yes, yes, delivery.
How's old gold five?
Gold five's fine.
We're going to have to work on Saturday
now.
The buttonhole's all done.
Because Mina won't be here.
I adore this dress.
Well, so make one for yourself.
Yeah, yeah, keep on talking.
I love it.
Go and make one.
Yeah, yeah, yeah.
I'm bloody starving.
Are you starving?
Where's Baba?
She's upstairs.
You should take her up a brick.
So how was it?
Fine.
No, how was it really?
Fine.
Very fine.
Fine, very fine.
Very fine.
Fine, very fine.
Oh, my children.
Very fine.
Very fine.
Why did you tell Mum that she's not your
mum?
I thought it was just an idea.
Now she's going to be even more a pain in
the arse.
Well, what are you going to do when we
leave home?
I'll stay.
You'll stay.
Well, you move.
You don't do anything.
What are you doing?
She's trying to get rid of the pinpricks
with glycerine.
You know I don't believe you.
You're so vain.
I don't want to be branded.
You're ashamed of what?
I said I don't want to be branded.
Not a slave.
It's my turn to take the bed, but I don't
care.
That's all right.
So who wants it?
No, no.
Ah, keep it, Princess.
Do you want me to lend you a book?
No.
Esther, what do you want most in the
world?
Most in the world?
Well, if you had a quality and you wanted
it to be rewarded.
I don't know.
For Mama?
My darling.
Well, go on, then.
What could I wish for most in the world?
You know, it sounds
slightly miserable, but I'd
like to be admired for
my beauty and elegance.
And me for my intelligence.
Since I'm working all the time,
I'd like loads of money.
Simple as that.
I want to make tons of it.
Sorry, I've got to go.
Sorry.
See you.
Well, one day, I want to go and live in
Palestine.
I.
want to be revenged.
Don't come close!
Stop it!
Stop it!
Go away!
Go away!
Go away!
I said go away!
Go away!
Go away!
What.
are you doing here?
I'm frightened of still not being awake.
You are awake.
You'll see.
For you, he's going to make it his treat.
We're late now.
My God.
Come on, mate.
Is he all right?
Thank you.
Bye!
Let's go.
Hurry up, Jules!
Hey, Esther.
I'm really sorry.
Truly.
It'll be all right.
We're not getting into the big house.
Esther?
I'm here.
Five in the gods, please.
Five in the gods.
Are you all right?
I'm fine.
Three and six.
You pay.
What?
Thanks.
One eightly, please.
Sorry?
One eightly.
Thank you.
Bye.
We have good seats.
Joe.
Nick.
He'll take you out for once, Esther.
You're such a disgrace, Joe.
are you going to be like fucking peasants?
Pussy Trevor How insanity.
That guy with us, an actor I recognise,
ain't he?
sh.
.
.
Live it!
This is how you live your life.
A little pause... and we are back.
Once inside, she would
never speak, but she would sit,
staring at the people on the
stage, as if they hypnotized her.
She never criticized the play,
as the others did.
The play didn't seem to matter.
She lived in it without
will or choice, merely
because it was there
and her eyes were on it.
If she had said that, no woman would do
that for man.
How can you say such a thing?
On the other hand, you never promised to
marry her, did you?
You're so nauseating.
Honestly, it's a little scum, isn't it?
I'm cold.
He's the tall one with the scarf.
The one who leaves.
Yes, I know.
Let's go out.
I'll go and get some food.
I'm afraid I just feel...
Can I help?
Five Jacked Donuts, over here,
please!
Hello?
Sausage rolls?
It's a surprise.
This is for you.
Thanks.
Why are you having one?
I've got a doughnut.
Are you not allowed as a lamb?
Yeah, but I'd rather not.
We don't talk, right?
Come along next cab, please.
Come on, this way.
Next cab.
Here's the next cab.
Why are you waiting?
The bus is leaving.
What about.
her acting?
Did you see her?
No.
I love the Gaiety theatre.
What she acts isn't logical.
She's no good.
Esther's waking up.
Why do you say that?
I like her, I do.
You know nothing about actors.
You're always wrong.
Each time you have an opinion,
you're wrong.
Don't I have the right to say that I like
her?
It's a matter of taste.
Me, personally, I thought she brought
beauty...
Who gives a fuck about you, your opinion?
She's no good, that's all.
She's making mistakes all the time.
Mistakes?
It's not a bloody spelling test,
you know.
You're mad.
He paid for it.
She seems to be doing it.
She's doing it on purpose.
She has a scene at the fence.
And she doesn't know how to play it.
And it's so easy.
She's always trying to be something else.
I'll tell you what, Esther.
Why don't you go to her dressing room and
pass on your words of wisdom to her?
I've no interest in speaking with that
woman.
Coward.
You're a coward.
You want to see him again?
Yesterday I wrote you a letter.
You shan't read it here.
I'll have a look.
It's a long letter.
If you can write me each time we've
kissed, I'll have a lot of reading to do.
In the envelope.
Esther, we're leaving in five minutes.
Good night, you two lovebirds.
Look.
What's that?
It's a diamond.
I brought it from the shop to show you.
Because I think you'll like a diamond.
You know, it's worth a lot.
Even a tiny one like this.
You stole it from the shop.
No, it wasn't even entered up in the
ledger.
You can keep it.
It's better if you take it back.
Yes.
So see you tomorrow then?
But you let me kiss you.
Yes.
Oh God, I didn't mean to.
I'm sorry.
But I hardly touched you.
Oh.
What's that?
It's idiotic.
Perhaps, but I like it.
What do you care about leading ladies?
Nothing.
Help,
we're out of coal.
Hi, Sam.
Sammy?
Yitzhak.
Where are they?
He went to the union with Samuel to get
him some casual work.
You're disgusting.
What is it you're doing?
Esther, come out.
You bloody slut.
What?
Don't you dare face me like that.
Stupid.
Your wife spied on me when I'm in the lab.
So you were spending 20 minutes while you
were having a pee.
Perhaps I was having a poo.
You can't tell.
With your hand down your thing,
don't tell me.
I can sniff you.
You're my daughter.
I could smell it when you were around.
You smell like fish.
Two hours in the bog.
With your fingers up your cunt.
I couldn't pee.
It stings me there.
Oh, come off it.
You'll damage yourself inside,
wanking like that.
Don't shout, you!
Don't shout!
Don't shout, you!
Are you alive?
Don't shout at me!
I'm serious!
Come on.
Leave her alone.
Take her away.
Your sister's depraved.
I'm scared to leave you in that bedroom at
night alone together.
Each night I leave you in that room,
I'm frightened out of my wits.
That you'll all turn out depraved.
And your brother too.
I can't be watching you all the time.
I've got to get some sleep somehow.
And look after your father.
He never utters a word.
I don't want her to outrage me anymore.
I don't want her to work here anymore!
She's mad.
Yeah.
Do you want me to do your hair?
She has no right to bother you in the lab.
I don't care.
You're so pretty.
I'm scared she's going to tell everybody.
She's going to tell everybody.
It's the sulphur!
You're new here.
Where are you from?
Spitalfields?
Me too.
By the market.
We can go home the same way.
Esther, do you want to stay around a bit?
No, I'm going.
Well, see you tomorrow.
Hello!
I see you're working at the Felder's now.
Yes.
It's not too hard?
I'd rather be at the factory than work at
home.
Still squabbling with your mother?
If she has said anything about me,
it's not true.
She accuses others of what she does
herself.
You look very angry.
You shouldn't stay by yourself.
It's my mother who doesn't want me working
at home anymore.
I've also noticed you've stopped coming to
the synagogue.
Same as my father.
Your father is your father.
They live 120 years.
But that doesn't stop God from seeing you.
No.
God has abandoned me because I'm poor.
And if I'm poor, I'm not needed at the
synagogue.
I can see that your
mother is pretty right
when she says that you
are proud and arrogant.
Go on, then.
Tell me what I'm doing wrong.
Very little, I'm sure.
I know that you want to be an actress.
Just remember that it won't be squabbling
with your mother...
that opens the way to the theater for you.
Bye.
She smelled bad.
It's not her fault.
It's the body emptying itself.
I can't touch her.
Sorry.
There.
Don't worry, Esther.
Earth is a good mother.
Go and get your sister.
Clever.
of you to go away now.
You say you defend me, right?
Oh, yes, and then you piss off.
And me?
I'm left to manage.
What am I supposed to do?
Earth is not a good mother.
Grandma, I'm scared you'll be all cold.
It's dirty and it's cold.
And you'll be shut away with all the
beasts and bugs.
And you're old, alright.
All families here are getting ready to
make a fuss.
You hear them?
Peep-peep-peep-peep-peep-peep.
Peep-peep-peep-peep-peep.
Peep-peep-peep-peep.
Is there another one?
Yeah.
They asked at the factory.
Don't tell.
My father's gonna kill you.
I don't care.
See you tomorrow.
Now turn around.
May I see your left profile?
No, no, no, no, no.
The other way.
Good.
You won't get stage-fired, will you?
No, no.
You won't get scared and dry up?
No.
What's your name?
Con.
Con.
How do you spell that?
K-A-H-N.
Con.
K-A-H-N.
What's your first name?
Esther.
Esther Con.
Fine.
It's for the poster.
Canetti.
Esther Canetti.
It sounds Italian.
You've got dark hair.
No.
I can't change my name.
Esther Con isn't very attractive.
It's rather austere.
Canetti is not.
Canetti is better.
I don't want to change.
Very well.
I'll put your name, then.
K-A-H-N.
Now what time is it?
Where have you been?
We had the delivery at six o'clock.
And now what time is it?
I'm going on the stage.
No.
Oh, really?
And when do you go on, I pray?
On Monday night.
You're not serious.
I am serious.
I've got a part.
To play the maid in the wages of sin.
I know it.
I've seen it.
She speaks twice during the whole piece,
right?
Yeah, that's right.
Come on Monday night and hear how I say
them.
Well... That's enough.
She's going to do it.
Silence and back to work.
You never read.
You never have an opinion about things.
You even say yourself that nothing
interests you.
So is there something crazy all about?
I can't be sure you'll succeed just on
your good looks.
Watch out.
She'll be an actress.
She'll have to sleep around.
Come off it.
How do you know?
Excuse me, it's common knowledge.
Mmmmm.
You're an intimate mind.
God, we're stupid.
She already is.
You're sleeping with the manager,
right?
Well, if not, it's about time you did.
You take the bread out of our mouth.
How are we going to do it if she doesn't
work anymore?
I'll make money like I do at the factory.
Come on, if she's at the theatre,
she can't help us at night, can she?
We have enough trouble delivering on time
as it is.
You two mourners.
You've got other things to do.
For example, a delivery at nine.
Piss off.
Disappear.
Back by twelve.
Both of you.
With what we earn.
If you don't help us, we never do it.
You'll just replace me then.
With what money?
If I succeed, I'll pay you back what it
cost you.
How much does Mrs Ross cost?
One pound a week.
If she comes every night.
One pound ten for a good worker.
Yes, but I'm slow.
Well, you think we're going to hire a slow
worker because you're slow?
All right.
I'll owe you one pound ten a week for as
long as I'm on your hands.
Agreed?
A child costs one pound.
That's four pounds.
Two a month.
Besides, evenings, I get to eat at the
theatre, so you'll make a profit.
In six months' time, I'll give you back
two pounds ten for every week.
That's ten a month.
That makes sixty pounds.
And if you stay unemployed after this
play?
I won't.
That's what you think.
I know how to get on.
Oh, let her do what she wants.
In any case, she's good for nothing.
She slows us down.
You're sinister.
I'd rather send you to the theatre than
have you here under my feet.
So we agree, then?
We do as I said?
Agreed, Esther.
Agreed?
Yes.
Here's one.
Servant enters with salvo.
That will make it easier for you.
No.
It's him.
I saw him.
Please!
Brian, we need the girls on stage in five
minutes.
What's the matter?
It's a green test.
Brings bad luck.
Your actress wants to wear green on stage.
Me, I'll have it.
Here you are, girl.
Cool.
I'm gonna wear this one.
Come on.
I'll take the pink one.
Right.
Pink.
This one.
Take your time.
I know you can do it.
Rose,
dear, shall I own it?
I don't care for her, your friend,
Ruth.
Not care for her?
I don't believe she has what she seems.
Oh, you are simply jesting.
No.
I am in earnest.
I came to see you.
Be nice to the man.
For all that... Uh, be silent.
Oh, uh... See you on stage.
All right, then.
Uh, I didn't come to see you.
I... I... I think it's no good.
Good night.
But listen!
Now I've done it.
Who would have thought that she would have
flared up so?
Good.
Come with me.
How are you doing?
No stage fright.
Brian, will you take this lady's clothes,
please?
Thank you.
Be natural, right?
Don't look at the audience.
And don't say your lines too fast.
Hey, are you all right?
Don't...
Makeup?
I just want to stay in line.
You do your makeup here, right?
Yes.
Is everything all right?
Yes, yes, fine, fine.
Goodbye to you all.
Good to.
meet you.
Will you promise to think kindly of Paul
Rose?
Yes, I promise.
Goodbye.
I am sorry that he is gone.
And so am I.
Do you know I could cry?
Oh, and so could I.
You?
With joy.
You wretch!
I've discovered my errors.
You.
The line has come a face short.
I really would.
I really would.
But it's worse.
Calling again, you two?
Well, well.
Get it all over with
before marriage, then
settle down into Derby
and Joan afterwards.
Never, my love.
Do you remember what you have to do?
I don't need to marry at all.
What?
Never.
At least not until I can find a man who
can speak the truth.
Go.
Do you have people to see?
No, no, it's fine.
We can go.
You have to sort something out and you'd
better find a solution.
It's simple.
Aren't you going to eat?
No, I'm not hungry.
Do you feel nervous?
No.
It seemed quite natural to me.
She did not tell them that a great wave of
triumph had swept over her as she felt the
heat of the gas footlights come up to her
eyes and saw the floating cluster of white
faces rising out of a solid mass of
indistinguishable darkness.
In that moment she drew into her nostrils
the breath of life.
And how is our little Esther?
I must admit I can't get over it.
She's a real actress.
She plays real parts.
Almost every night.
As well as understudy.
We've heard she's a success, right?
Yes.
We saw her the other day in the trium and
we almost didn't recognize her.
People say good things about her.
You must be so happy.
I'm surprised.
Is it true she's going to take lodgings
over there in the Scrant?
Well, she can afford to.
She's in the money now.
In six months she's paid back every penny
she owed.
I always take this way because I like it
here.
From here it looks a bit like China.
Look, it's all grey.
The Grey River.
Peking.
Peking?
Peking.
You want to go to China?
Oh, no.
But I like China.
China's all right.
My daughter who doesn't talk.
You're always chatting away.
Who?
Everyone.
The whole family.
Why do you think of nothing?
My little cow.
Athena.
Of the half her eyes.
What?
In Homer.
A girl with cow eyes.
Or half her eyes.
Do you know any friends at your work?
No.
No.
Not very much.
You ought to.
See people.
Get out in a bath.
I don't know.
Westminster.
You've never been to Westminster?
I have.
Once.
Once?
You should have some experience.
What's wrong with experience?
This.
See.
this?
It's nothing.
Here.
It's yours.
Does it please you?
Yes.
What are you going to unpack?
Oh, the key.
Here.
I think you're better off here.
Close to the theater.
Well, goodbye, Esther.
Goodbye, Father.
Why, Jessica, I say!
Why, Jessica!
Who bids thee call?
I did not bid thee call.
Your worship was wont to tell me I could
do nothing without bidding.
Enter, Jessica.
Call you?
What is your will?
I am bid forth to supper, Jessica.
There are my keys.
But wherefore should I go?
I am not bid for love.
They flatter me.
And yet I'll go in hate to feed upon the
prodigal Christian.
Jessica, my girl, look to my house.
I am right loath to go.
There is some illabrewing towards my rest.
Thank you.
Listen, Nathan.
Look, your being a bad actor is absolutely
fine with me.
I don't mind at all.
You know that as well as I do.
You know I love you dearly.
But do you think you could look a little
bit more Jewish?
Is that too much to ask, Nathan?
Too much to ask of you to look a little
bit more Jewish?
What did I say?
I mean, are you a Jew or aren't you a Jew?
I'm Jewish.
So fine.
What's all this acting?
Acting nonsense.
I didn't hire you to act.
I hired you to be Jewish.
Is that clear?
You didn't hire him, Norton.
Nathan, you're just here to understudy
today, all right?
Just because he's an understudy doesn't
mean to say we have to act like a jellyfish.
You're trying so hard to act, Nathan.
You're not like anything at all.
Just look, Jewish, damn it!
This girl is totally lost.
You're here to help her.
Remember, bring out the best in her.
In all honesty, do you think he looks like
a Jew?
I have no idea.
What a moron.
What does he know about Shylock?
Nothing at all.
I don't look Jewish enough.
Me sugar.
Did I prevent you from acting?
Are you from the tribe, coining?
My sister's marrying an Englishman.
So he's Jewish or not?
Bless you.
No, I just don't care.
Marvelous role, Jessica.
I'm just the understudy, in case the
actress falls ill.
You could be a good actress.
Do you go to classes?
Classes?
Yes.
You should, you know.
We should all learn, even though I may not
be any great shaker.
As an actor, I might be able to manage to
teach you to do it, if you're interested.
I don't think I have the time.
Do you have another job?
Well, then, Tuesday morning.
There's a cafe across the street.
If you're interested.
You're not drinking?
No.
Thank you.
Come on, it's cold.
Here.
I don't have to pay for the place.
For the lessons.
No, please.
Just call it a gesture of friendship.
No, it's because you're old.
So you'd like to imagine that you have a
girlfriend and that would be me.
I think this is a mockery of friendship.
Perhaps one day we'll be friends,
perhaps not.
Now, take the money.
If you like.
I will tell you my price.
One day.
But not today.
One day.
Right, let's start straight away.
You're an actress, Esther.
At least you want to be.
I, too, am an actor.
Now, the problem for
us actors, what we have
to succeed in doing is
to make others believe.
That's why people come to see you.
But if you just come on and tell a big
lie, no one will believe you.
People don't come to the theatre to be
lied to.
On the other hand, if you
just come on and tell the
boring old truth, what are
you asking us to believe?
Nothing at all.
So we won't believe that either.
Yes, you understood?
Right.
So the question has already shifted
slightly.
Now I can ask on stage, should I lie?
Should I tell the truth?
If you want to be an actress, should you
start by lying or by telling the truth?
Let's do an exercise.
Come.
Let's imagine...
Yes, let's imagine you're going to act
Cordelia.
I want you to go into the wings.
Here.
And when I stamp my foot, like that,
that's your cue to enter.
And...
And stop.
Is that all?
Yes.
Vanell?
Who just made her entrance?
Cordelia?
Oh, come on.
You know that's not true.
Well, everyone knows this
is a play by Shakespeare,
and Shakespeare's
been dead for centuries.
We're the only two people in this theatre,
and you honestly think I'm going to
believe that that was Cordelia,
the real Cordelia, who just came on?
So who did just come on?
I don't know.
I am Esther.
Yes, and that's very important.
But it's not enough.
Because whoever just came on has got to
say, what shall Cordelia speak?
Love and be silent.
And Esther doesn't speak exactly like
that.
Stand up straight.
I'm afraid.
Come on.
Do it again.
And this time, when you come on, you
do not come on as Esther or Cordelia or...
Just come on stage.
Follow me.
Right.
Stand there.
I will stand over here.
This is a small scene.
I want you to come across to me and shake
my hand and say, good day, sir.
Good day, sir.
Show me.
It's quite good because now you have...
You have some presence on the stage.
It's only quite good.
Because what has to
happen is that every step you
take has to be more
unbelievable than the step before.
Every step has to be...
Well, it has to have an idea
behind it, an idea that is so
complex that it would take ten
philosophers just to decipher it.
Each step has to stretch like a rope in
the audience's mind until they can't bear
it anymore and they want to cry out,
careful, Esther, you're gonna break it.
Here?
That's where you start.
Two steps.
Here, you choose to approach the old man.
Simple.
But we have to see you choose.
Two steps.
Here, you feel a little ill at ease.
It's a big theatre.
You're standing all alone in the middle of
the stage.
It's a long walk.
It could make you look silly.
You feel awkward.
Two steps.
That makes, um...
That makes six.
Now, here...
I want you to feel ashamed.
The shame is painful.
It hurts.
Supposing a woman in the audience stands
up and laughs out loud.
You feel such a dumkov.
As red as a beetroot.
Almost as if you're standing on a sharp
knife.
Two more steps.
And here, you think, wait a minute.
This is all the old man's fault.
He's making me walk all this way.
Two steps.
And now...
Oh, yeah.
Now you're angry.
It's all right for me.
I stand at the end there, waiting,
twiddling my thumbs.
It's a cushy number for me.
Ten.
Now, when you get to here...
When you get here...
I want you to bark and growl at me.
Bark, bark, bark.
Wipe the smile off the old man's face.
Twelve.
Two steps.
You like me because I'm Nathan.
I'm an actor like you.
Let's face it, I'm your only friend if the
audience do decide to make fun of you.
All those women with their money and fancy
clothes.
But here we shake hands.
Now, as you walk, I want you to think all
this that I've just told you.
And in the order...
In the right order... You're on.
Goodbye.
The.
dog has changed the world.
No, please.
No, please.
No, please.
No, please.
No, please.
No, please.
No, please.
No, please.
Excuse me.
Your dress... I'll
bring it back tomorrow.
It needs to be washed.
learning Italian Please put the towel
away.
I profited from that anyways.
Jane!
Yes, I asked the stage manager.
He said, tomorrow I'll bring it back.
Bye.
Thank you so much.
Please put the towel away.
adds more pain to the tone.
She finished her study, and before long,
she had the chance of playing it.
She began to make a little money,
and, as she had promised, she paid so much
a week to her parents,
they gained in the bargain, so
they did not ask her to
come back to the stitching.
Esther was making her way.
She never saw you out.
Where do you want to go?
Come on.
Can we have the beggars, please,
that you're on stage now?
Come on.
Come on.
We are.
here...
to learn how to do an action.
If you want to be an actress, you have to
learn how to do actions.
What is an action?
That's easy.
So, what is it?
Oh, I can't say it.
It's just an action.
That's easy.
To perform an action, you have to make
movements with certain parts of your body.
If I'm unhappy...
Now, what if...
What if you're talking?
Make movements.
In your mouth.
In your throat.
Yeah.
Don't laugh.
Say, ah.
Ah.
Ah.
Ah.
Ah.
Ah.
Ah.
Yeah.
But as yet, it's still not proper talking.
Although talking is indeed a
question of making movements
with your mouth and your
tongue and your throat.
So there must be something extra that you
do that turns your movements.
Into proper speech.
Otherwise, it's just noise.
In the same way, you
have to find that little
extra something that turns
what you do into action.
Good my lord, you have begot me,
bred me, loved me.
I return those duties back as a right fit.
Obey you, love you, and most honor you.
Why have my sister's husband if they say
they love you all?
Happily, when I shall wed, that
lord whose hand must take my
plight shall carry half my love
with him, half my care and duty.
Shall I read it again?
No, I think I got it.
Oh, you've heard it before?
No.
Oh.
You have an astonishing memory.
Ah.
It's Cordelia defying her father in the
first scene of this great play.
Now, did you understand anything of the
characterization?
No.
Right, let's start from the beginning.
Good my lord.
Good my lord, you've...
Good my lord, you've begot me,
bred me...
What?
Now, I want you to go
through the speech, and
I'm going to try to
break your concentration.
Good my lord.
Good my lord, you've begot
me, bred me... Loved me.
Loved me.
I return those duties back as a right fit.
I return those duties back as a right fit.
Obey you.
Obey you.
Love you.
Love you.
And most honor you.
And most honor you.
Why have my sister's husbands if they say
they love you all?
Why have my sister's husbands if they say
they love you all?
Happily.
Happily, when I shall wed, that
Lord whose hand must take my
plight shall carry half my love
with him, half my care into him.
Sure, I shall never marry like my sisters.
To love my father all.
To love my father all.
Good!
Yes, I took your hand.
It upset you at first.
And then I really annoyed you.
But you stuck with it.
You said your lines right through to the
end, exactly as you should.
Because you were blocked.
You weren't thinking about acting or
playing other people.
Just about not laughing.
You were an embarrassment.
Yes, I threw you.
You were embarrassed.
But if anybody else had been
in the room, they would have
been able to understand that
speech right through to the end.
And it showed that you could still...
reach the words.
Even though you were being distracted.
You learnt something today.
You learnt to lose the meaning.
Can you give me a girl asking a waitress
for tea?
Yes, I can.
Tea, please.
Louder.
The waitress isn't coming.
Tea, please.
In fact, the waitress doesn't want to
come.
You're in a tea shop.
And you're in a hurry.
So you shout at the waitress.
Can I have some tea, please?
Tea, please.
Please, I want some tea!
That's not bad.
It's not bad.
But... would you dare to shout out in a
tea shop?
Oh, no.
So if you can act the angry girl,
that's good.
If you can't...
you're telling us it's embarrassing to
shout out in public.
You're telling us two truths.
You're telling us the truth about loud
mouths.
You're telling us the truth about
embarrassment.
You're telling us the truth twice over.
But there is a third truth.
A third very mysterious truth.
And that is that you're not that girl.
You're not in a tea shop.
You're on a stage.
And there are all those people out there.
Now, if you can manage just once...
to tell the truth that you're here and
they're there... you'll be a good actress.
So, we continue tomorrow?
At the same time?
Half past nine?
It was a good day.
A good day.
Do you want to stay?
I'll stay.
Lock up, please.
Yes.
You're fine?
Yeah.
Yeah?
So, what brings you here?
Just passing by?
Yeah.
Fine.
Do you want a cup of tea?
Well, I might want for myself,
then.
Oh!
I was walking along the street and my feet
let me in.
That's good.
And?
I wondered what you thought of me.
Good.
Peggy, you've seen the act of that.
Well, tell me the truth...
Am I any good at it?
Or do you think I should try something
else?
I don't think anything special.
I think that you don't like me that much.
But I understand.
It's not true.
You're my sister.
If you don't want to be an actress,
then don't do it.
Do something else.
I can always ask Mike.
But if you do want to be an actress,
then stop asking yourself these questions.
Good or bad acting.
Who knows?
I said I knew how to do an actress.
I don't know how.
It's not true.
I'm supposed to go on stage.
People are supposed to say, look,
that's the truth.
But because I'm too small and empty,
well, they can't see a thing.
Have you spoken to your friend about this?
Nathan?
I'm afraid to disappoint him.
Go and see him, Esther.
And speak to him.
It's got nothing to do with being too
small and too fat and too stupid.
That's rubbish.
Why didn't you tell me there was no point
in us continuing?
Because you know.
So what do I do now?
Nothing.
It's finished.
You're an actress.
That's what you wanted, isn't it?
But I'm not good enough.
There's something missing.
The remedy lies in your own hands,
Esther.
You cannot keep shutting out the world.
How can you claim to act feelings that
you've never lived through yourself?
I don't shut out anything.
All right, let's put it this way.
Are you a virgin?
What?
Have you slept with a boy?
No.
Well, a girl then?
No.
You've got to get a lover.
Fall in love.
It's the only way.
You think you can act.
You've never experienced anything worse
than a cut finger.
And to play a corpse I shall have to be
dead.
That's stupid.
It's got nothing to do with it.
You sound like my father telling me to do
it.
Tell me how to get out more and go to the
club.
I'm not saying that.
I'm just saying that at present you're
dead.
And you're as cold and as hard as a stone.
Now pretty soon one day you're going to
have to, you know?
Thank you.
I need to ask someone's advice.
Goodbye.
See ya.
Esther looked around her with practical
eyes, not seeming to herself to be doing
anything unusual or unlikely to succeed in
its purpose.
She thought, deliberately, over all the
men she knew.
Hey, God.
Can I ask you something?
Hello, Esther!
Tod's?
Tod's.
Yes?
Well, yes.
Oh, he's funny.
A bit old.
He used to run a theatre, but he's in
business now.
Very gallant, but not very Randy.
Who's that one there?
Where?
There.
The guy sitting behind Todd's.
Oh, there's Dominic.
Have you been out with him?
No.
The one next to him, he's an artist.
Craig.
I wouldn't recommend him.
What about Philip Agard?
Agard?
Where's he?
He's not here.
Now, that would surprise me.
He never comes to First Nights.
I bet he doesn't even have a dinner
jacket.
Do you know him?
I think he's scary.
I don't mind.
It's all right by me.
Well, then, please, go right ahead.
My pleasure.
Does he have a woman?
No woman.
Plenty of women.
Is it in English?
Yes.
But it's not a play?
No.
No, it's an essay.
I thought he wrote plays.
I don't know.
We could try to place an order.
No, never mind.
And his head's can't be turned.
But how do you go about it?
Say you've made up your mind.
The man who suits you.
How do you tell him?
I just go round to his house and say,
how about it?
When do you go?
At midnight.
I knock on the door and say, it's me!
Oh.
For heaven's sake, Esther, I'm kidding.
You can't just go round to a man's house
and lift up your skirt.
It isn't proper.
You should know that.
So what do I do?
I've no idea.
You'll meet.
You'll get to talk a bit.
And things will just happen.
Little by little.
For fuck's sake.
Can I see the register, please?
Yes, missy.
Let's see.
Haygarth.
Philip.
He's booked a seat for the team.
He's on the 12th.
Hello.
I wanted to know if we could have a drink
after the play.
If you like.
Right.
Writer, I just write articles in bits and
pieces.
I've seen you before, but I wouldn't yet
know how to pay you any compliments.
You haven't acted long enough for that.
Sorry.
And me, I haven't treated enough.
You're thinking you're about to have the
worst evening of your life.
No, that's fine.
Cheers.
I think you're joking.
Good evening, Philip.
Good evening.
So you've come out of your den,
have you?
As you can see.
Have you... met?
No.
Well, Chad, he's very clever.
Much cleverer than his play.
Good evening.
Good seeing you.
I'm sorry, but I didn't know how to
introduce you.
I'm afraid I can't quite remember her
name.
Oh, my name
is... Please, stop it.
This is all a bit nerve-racking.
Soon the pub's going to close.
So I'm going to suggest we go on for
another drink somewhere else.
That we will see three or four pubs close.
One after another.
And when there's nowhere left open,
I suggest you come and sleep at my place.
We shall see.
It's a relief to know that you can walk
out on me between each pub.
I'm sorry, but how did you find me?
I was talking to Christelle.
Christelle?
She's in the play.
You know...
Yes.
That's her.
Right, Christelle.
And me, can you do me?
Mm-hm.
Go on, show me.
I talked to her, and here I am.
I hated the street I lived in.
People there, my family.
I went to build a house where nobody would
see me.
All walls and no windows.
There I could be good about as I pleased.
And that way I'd get the better of God.
That means your soul was locked up.
Really?
Or quite the opposite.
That your soul is too fancy free.
I think it's very easy to attack someone.
It scares me.
On my way home, for instance.
He courted her, much more skilfully than
any of her other lovers.
And, though she saw through his plans as
clearly as he wished her to see through
them, she was grateful to him for a
certain finesse in his manner of approach.
He never mentioned the word love,
except to jest at it.
He concealed even the extent to which he
was really disturbed by her presence.
Yeah.
His words spoke only of friendship.
And of general topics.
And yet there could never be any doubt as
to his meaning.
His whole attitude was a patient waiting.
He interested her.
Frankly, he interested her.
Here, then, was the man for her purpose.
I took a room for you.
You see, my room isn't very big.
So, if you prefer...
Here we are.
Can you turn out the light?
Sure.
I don't.
owe you anything.
On my own property, you owe me nothing.
You'll never be a virgin again.
Who cares?
This bargain, this infinitely important
bargain, had been concluded with open
eyes, with a full sense
of responsibility for
a purpose, the purpose
for which she lived.
Was it nice?
Mm-hmm.
I don't understand why I haven't done it
before.
It was quite pleasant.
I'll go on doing it.
You sleep with other men.
No.
Yes, you will.
You're an actress.
You sleep with other men.
I've done it.
She wondered what it was that a woman was
expected to feel under the circumstances,
and why she had not felt it.
How different had been her feeling when she
walked across the stage for the first time.
That had really been a new life,
or the very beginning of life.
Thank you.
Hello, Esther.
Hi.
Bravo.
Oh, really?
Aren't you bored of seeing this play?
No, you must know
by heart... No, I like it.
I watch you.
I don't get bored.
Did you sleep with him?
Yes.
What was it like?
Do you love him?
I don't act any better than before.
Hasn't changed anything.
Talk to your parents.
I want you to be my wife.
They've agreed.
I want you to let me marry you.
I don't love you, Joe.
I know that.
That doesn't bother me.
You're all alone.
You need someone.
Look at you.
That chap, he's not going to take care of
you.
I will.
I wouldn't make a good wife for you.
Ask your family.
I don't give a toss about my family.
And I don't give a toss about your theatre
either.
I'm sorry.
It all washes off you.
I don't feel a thing.
No, I don't.
I'm trapped inside myself.
Sometimes I even think you're a
puppet... pretending to be sad or happy.
And other times I'm so jealous of you all.
It's as if you're all in the river...
and I'm sitting beside it.
And I'm watching you go by.
Philip.
I'd like to see you.
To talk with you.
I think we should meet once again.
Esther.
I.
got your address from the theatre.
If it's about time, I can come back.
No, it's all right.
Come in.
In.
fact, I brought you some
flowers... but I felt stupid.
So I'm going to get them.
I'd like to be a good actress.
Well... I liked it.
You can't like it.
But that woman's a good actress.
What?
You mean she's...
sympathetic.
Nice.
That precisely what's so awful.
That woman is dreadfully nice.
But what a sad country this is... where
they like nice, sympathetic actresses.
Please, Esther.
Don't ever be a nice actress.
I'm sorry, but... I think you
need to cut your fringe here.
Really?
Yes.
If you wear it shorter...
in a neat line like this...
people could read your thoughts.
You've got a high forehead.
You'll have to make use of it.
That way one can imagine...
ideas battling away behind it.
Are you sure you wanted this short?
Yes.
You're definitely sure?
Quite sure.
Yes.
Philip had a sense of acting...
which was like the sense that a fine actor
might have... if he could be himself...
and also someone looking on at himself.
He not only knew what should be
done... but exactly why it should be done.
Little suspecting that he had been chosen
for the purpose...
he set himself to teach her art to Esther.
You see, the man is suspicious of you.
It's very real.
Imagine if Desdemona wants to come and sit
on his knee.
Othello suspects she's already slept with
Cassio.
And now she wants to come and sit on my
knee.
She can't get enough of it.
Where's it written?
What?
What you just said.
Well, there, everywhere.
He looks at your bum, right?
Now you come and sit down.
So he says to himself...
Cassio got her so worked up...
that now she wants to do it all over again
with someone else.
What horrifying appetite.
And if you don't come to sit on my knee...
that goes to prove that you slept with
Cassio.
Because you're so gorged with
sex... that you don't want it anymore.
You're shattered.
And that's just as far.
No, Othello isn't mad.
Perhaps you haven't slept with Cassio yet.
But the suspicion makes it too late
anyway.
Because if you ever do come and sit on my
knee...
even if you haven't slept yet
with Cassio... I'll be telling myself...
she's coming to rub her arse up against
me.
She's hot for it, the whore.
So hot that sooner or
later... Cassio will have her.
And I want to say to you...
have you no decency?
Because if you don't come over and sit
down...
that's because without your
knowing it... I disgust you.
You're thinking you're so pure...
because you haven't yet met the right man.
But I know that the bestiality awaits you.
What I've done is to degrade...
to desecrate all your desire.
All your desire has become
precisely... the desires of a whore.
What's wrong?
You all right?
Yeah, I'm fine.
My eyes are stuck together.
It's because we did it too much last
night.
That's the painting.
Right at the back.
We go on models for a Bouvier.
She's all the rage.
But we don't give a shit about Bouvier's
paintings.
Come on.
I'll show you something really
unbelievable.
So, is it for your paper or what?
No, they're art photographs.
She's an Italian from Campania,
I think.
Hasn't been in England long, three months.
She came over with an organ grinder.
Doesn't speak a word of English...
just some vile southern dialect.
I'm sure nobody understands her in Milan.
George had done a sketch of her.
He asked her to sign it.
She marked it with a cross.
I found my estacole.
This afternoon we saw this girl.
You know the model?
And it was astonishing.
What does she look like?
She looks more Swedish.
Or German.
Yes, a noble German woman.
Not at all Italian.
Do you remember Esther?
Which one is Esther Khan?
Brilliant.
How are you, Trish?
This is her.
How do you do, ma'am?
Follow me.
My husband.
Hi, Sean.
Hi, Bill.
My banker.
Sean, who is a great admirer of yours.
Sit down.
Don't be afraid, my dear.
She's not afraid.
Are you hungry?
No.
She's not hungry.
You're not hungry?
Philippe, here.
Right.
So you're this fine actress.
And you've never acted for us.
No.
You're wonderful.
Sean is our director.
Have you played any leading roles yet?
No.
Yes.
Twice at the Forster's.
What in?
Smooth, please.
You want to talk?
You want to drink something?
Give her a break, Dodo.
Playing the lead is very different from a
supporting role.
Mind you, they say it's easier.
So it'll be easier?
Philippe is my reader and translator.
My French writer.
I'm not a French writer.
Mais dites-leur en franais.
No.
Did he ever speak French with you?
Nor me.
Never mind.
He's working for me now.
And I'd never do a thing without
consulting him first.
He's very reasonable.
Too much so.
You might end up almost boring.
Yeah.
It's rather comforting.
That's a good part of it.
You went mad once.
In Italy.
Since then, you're cured.
I'm vaccinated.
What did you do that was mad?
I was obsessed by ideas.
He was all on his own there.
In Ferrara.
Your friends went back to England.
I take it you were rather obnoxious.
But what were you doing?
Nothing.
Just ideas running around in my mind.
But I was completely deprived of sleep.
By then, I thought that if I wore myself
out, then maybe I could sleep a bit.
Which is quite reasonable, isn't it?
So I set off on a walk.
I walked for maybe 15, 20 hours.
I don't know.
And I found myself at night out in the
country.
Quite far.
I had found a hedge.
So I laid down and went to sleep.
But later some peasants came with the
police.
The Bessilieri.
Bessilieri?
Yeah.
That's what they call the Italian police.
They chased me and they took me back to
Ferrara.
Where they saw me in a dungeon.
In nirons.
With these great big chains on.
I didn't much care.
Maybe I was raving all right.
Now the next day, three big guards came to
take me to the bar.
I felt I was being tracked.
Tracked?
How?
Tracked down.
And I thought I would never go out again.
And then it struck me I should escape.
I grabbed one of the guards by the throat.
I tried to kill him.
I was punching another one in the stomach.
We all fell to the ground.
I had the strength of ten men.
But I had forgotten one thing.
I was barefoot.
And my cellos, they had omnel boots.
And?
And then they went for my bare feet.
But with such meanness that my feet were
bleeding.
Streaming with blood.
All four of us were slopping around the
bar.
Running the blood from my feet.
After that I fainted.
They threw me back in the cell.
Then I fell into a coma.
Eventually they informed the ambassador.
And I was shipped back to France.
Later to London, thanks to Trish.
He was put in a hospital.
A private asylum.
As well as his mental problems.
He had problems with his feet.
I shall never come out again.
I have no respect for insanity.
And no respect for suffering.
So there you are.
My holiday in Italy.
Esther.
What's happening?
Esther.
Hey.
Hey, what's happening?
I'm showing you this.
Here it is.
Philip's continued, unvarying interest in
her acting.
His Patience in helping her.
In working with her.
Kept her for some time
from realizing how little
was left now of the
more personal feeling.
I bought this for you yesterday.
Before the theater.
Did you?
Look.
Extremely kind of you.
Ibsen.
And this is because?
Because I know it's right for you.
Oh, but it's in Norwegian.
Oh, I didn't look proper.
Do you want me to change it?
No, I'll get to work on Norwegian.
That's fine, thank you.
.
You always have to do that when you drop a
book.
Or its spirit will fly away.
Bring me the books, lad.
Uh, yes?
Yes, sir.
I'm a friend of Ms. Kahn's.
Ah, Quellen.
So we have two weeks in which to put on
Elagabla.
It is Philip Egad who has done the
translation.
Philip?
Philip's not here.
Oh, all right.
Now, I'd like to make a start with
everybody introducing themselves.
Esther.
Esther Hedegaard.
I'm the husband of the young lady.
Tasman.
Uh, Tasman.
Uh, well, you all know me.
That's right, we do.
Sarah.
Sarah.
The part of Julia Tasman.
Margaret.
I'm Bertha.
And I'm Mrs. Elfstad.
Taya.
Taya, yes.
Joanna.
Hello, Esther.
Loveburg.
Yes, I'm David, and I can't pronounce the
name of my character.
Islet.
Eilat.
Eilat.
Loveburg.
And...
Nathan Quellenbrock.
Who needs a copy of the play?
Anybody?
No.
Please.
Yeah?
Would you like to hand those out?
Anybody know it already?
Thank you.
Yes?
Um, not quite.
Not quite, no.
That lady, ma, who brought some flowers a
little while ago, she's here again.
All the flowers you have in your hands,
ma.
Ah, is she.
Well, please, show her in.
Please, show her in.
How do you do, Mrs. Elfstad?
How delightful it is to see you again.
Yes, it's a long time since we last met.
And we too, eh?
Thanks for your lovely flowers.
Oh, no, not at all.
I would have come straight here yesterday
afternoon, but I heard that you were away.
Have you just come to town, eh?
Ah, yes, I arrived yesterday about midday.
Oh, I was quite in despair when I heard
that you weren't at home.
In despair?
How so?
Why, my dear Mrs. Reising, I mean Mrs.
Elfstad.
Mustn't let it fly away.
That lady, ma, who brought some flowers a
little while ago, she's here again.
All the flowers you have in your hands,
ma.
What's the weather?
Is your friend gone already?
Yes.
Ah.
Oh.
He's fine, Nathan's fine.
Alan's trying to get a cab.
How's it going with the rehearsals?
What?
You're so silent.
They're tired.
Don't let them intimidate you,
right, Esther?
No, she doesn't let us intimidate her.
It's you who intimidates us.
I'm already yawning.
Aren't they too boring?
No, it's fine.
And, um, Trish is happy?
I don't know.
Trish is fine.
Shit, we're going to be here hours.
Come here, come on.
Let me have a look.
Oh, no, don't go.
It's all muddy.
It's your carriage which is stuck.
No.
What's going on?
Nothing.
Who is it?
Silvia, Esther, a beautiful actress.
Do you know her?
Yes.
And then?
Did the wheels get stuck?
Not yet.
I'll go and see.
I'll see you later?
I'll be going.
There, there, they almost got it free.
You're not getting in?
No.
I'm just near, I'll walk.
Well that's silly, we can drop you off.
No, no.
It's better this way.
You sure you're all right?
Yes, go on.
Philip's here.
Actually it's a bit difficult for me
because he's here with a girlfriend.
Go on, I'll walk.
What's going on?
Philip's here.
I took the key in case you came back with
someone.
What are you doing with that girl?
Listen, I see who I want whenever it suits
me.
You're not seeing her.
You're fucking her.
Yes.
She's my mistress.
Why are you doing this?
Because I wish to.
Because that girl appeals to me.
Because she wets my nerves.
You love a girl who dances in the streets
and cheats on you?
Yes.
I know I have nothing to fear of that
woman.
You don't like her because she's like you.
No.
Because she's ruthless and ignorant like
you.
Because she can barely read or write like
you.
Because she's a model.
Because she slept with me out of pure
self-interest like you.
An insignificant creature.
A peasant girl from Campania with nothing
to her name except her beauty and her
peerless class of
dress and... Shut up.
Don't compare me to that whore.
Why do you say that?
She's a model, not a whore.
Everyone at the theatre is laughing at
you.
Sian saw her in the street with his mate.
She was kissing some old man.
What's your definition of a whore?
Come on.
Use the word with such confidence.
You must know what it means, surely.
What's the matter with you?
A whore is a woman who
opens her legs to men out of
self-interest because she
doesn't know how to do it.
She doesn't know how to do anything else.
I don't understand a word you're saying.
Hey, just tell me what
you, Esther Camp, actress,
are doing with me,
Philippe Hegart, drama critic.
Tell me.
Go on, tell me.
Hey, speak!
Don't wound me before I go on stage.
Don't wound me before I go on stage.
I can't wound you.
You're a machine.
I'm with you because...
You love me?
Come off it.
You're Esther Camp.
The whore of Hegart.
And he's going to work out on you.
And send you back to the void I plucked
you from.
You're jealous.
You'll never make anything of her.
You'll never be as proud of her as you are
of me.
Don't be so sure.
I'm infinitely more
proud of her beauty than
I've ever been of your
intelligence and talent.
I've loved below my station.
I've lowered myself to love you.
I'm soiled.
Where are you going, Philippe?
Don't leave here without telling me where
you're going.
You want to stay?
You know the form?
The deal is downstairs in the lobby.
You pay and you leave the key when you go
out.
It doesn't work.
Yes, yes.
Hedda.
Hedda.
What will come of all this?
At ten o'clock he will be here.
I can see him already.
Vine leaves in his hair.
Flushed and fierce.
Oh, I hope he may.
And then, you see, then he will ever gain
control over himself.
Then he will be a free man for all his
days.
Oh, God.
If he would only come as you see him now.
He will come as I see him.
If you could only understand how poor I
am.
And fate has made you so rich.
I think I must burn your hair off after
all.
Let me go.
Let me go.
I am afraid of you, Hedda.
Tea is laid in the dining room,
ma'am.
Very well.
We are coming.
No.
No, no, no.
I would rather go home alone.
At once.
Nonsense.
That's it for today.
In any case, we'll see you tomorrow.
Thank you.
I wasn't there.
I assure you, it was wonderful.
I had things on my mind.
Tomorrow.
I just hope to get through.
Good evening.
May I help you?
Room 211, please.
Mr. Hayguard isn't in.
I'm aware of that.
The room is free.
Fine.
Thank you, sir.
You all right?
I don't want to go in.
My friend won't be able to act.
Well, you've got stage fright.
That's normal.
We've been arguing.
I'm no longer with Philip.
I'm ashamed.
He made the right mess of you,
didn't he?
No.
Nobody hits me.
If one hits me, I'm the one.
Nobody else.
I believe you.
I'm afraid I may have damaged my jaw.
I can't speak properly.
Ah.
We'll put some ointment on it.
Someday.
I don't want to talk to people.
You don't have to.
Get in.
I.
need some fresh ice.
I'll put the dress over here.
I need to talk to Nathan.
Nathan?
Yes, Lester.
That's it.
I'm ready.
Don't leave me.
Or else I'll go.
I'll stick to you like glue.
You were in the classroom.
Probably.
How dreadfully afraid you were.
Afraid of me?
Yes, dreadfully.
I met Anastasia.
I met Anastasia.
She used to pull my hair.
Oh, Nathan.
I can't act.
I'm ill.
You just have to throw that slag of his
out.
Otherwise I'm not going on.
I can't just throw out a member of the
audience.
It's upsetting.
Right?
Get it?
Yes.
Besides, you'll never get rid of him like
that.
Excuse me, Philip's got a big mouth.
You speak to him and you'll just make it
worse.
They've already got their tickets.
And the girls told me they've already been
given their seats.
I don't want to act if she's here.
I don't want to.
Nathan, why didn't you warn me before?
We could have made arrangements.
But it's too late now.
In which case we would have sold the seats
they had booked.
It's not my fault.
Couldn't somebody go and speak to them
discreetly?
You know, just tell them that it's
difficult for me.
It's true, it is difficult for me.
And...
and it'll be better if she's not here.
That's alright, isn't it?
I can't go myself and ask
her, but... You stay there.
You stay.
It's a sick joke he's playing on you.
It's impossible.
I'm trying to, but I can't.
Right.
End of discussion.
Don't make a fuss.
I don't think Philip will be in the
audience.
I spoke to him.
Bear up.
Just pay no attention, love.
I've forgotten everything.
I can't even read.
Here.
It's.
alright.
I'm here.
I'm sorry.
It was me.
Stupid, stupid.
Come over here.
It doesn't matter.
Just relax.
I'll go and get some more water.
Or would you prefer some tea?
We've got at least ten minutes.
I'll be back.
Hello.
Katherine.
Call the nurse.
Go and get a nurse.
Quickly.
Shit.
I'm going to disinfect it.
It's going to sting.
But I can't cauterize it.
There'll be more blood.
But not much.
The cuts are tiny.
You'll be fine in about twenty minutes.
She has to go on stage now.
It's not serious.
There'll be more blood, though.
Does it hurt?
No.
Oh, I'm afraid she might have swallowed a
bit.
Um...
Well, that I call style.
You chewed... You
chewed on that?
You brave girl.
I'm impressed.
You should see Sean.
He's shitting himself.
Maybe I'll eat some ground.
Then he'll love me.
You should be on your own.
You need to concentrate, no?
Are you leaving the nurse with her?
You're here to act.
You stick to that Katherine.
And I will manage between us.
Concentrate.
Act one, act two, act three.
All right?
Yes, all right.
On stage, each man alone.
You don't act with, you act against.
Have you been to see that girl?
To ask her?
Yes, I think so.
Do you mind making sure?
Somebody's got to talk to her.
No, I think Katherine's been to see her.
Or the doorman.
They're dealing with it right now.
Come on.
You'll come and tell me?
I'll be downstairs.
Two minutes.
Either way.
We can check it.
I'll come back.
Or I'll tell you down there.
So you'll come up and tell me?
Yeah.
Right.
Do you want to put your dress on,
then?
That's fine.
I need to go.
Bill.
Sorry, Sean would like you to fetch
Esther, please.
Right.
Is that what you do?
Is she out there?
I don't know.
Beth!
All right, let's go.
What?
What should I do?
It's gone.
It's gone.
Well,
I've understood.
It's gone.
Test.
Curtain.
I.
don't believe that's turning yet.
I told you so, miss.
Remember how late the steamboat got in
last night?
And when it got home.
Oh, what a lot the young mistress had to
unpack before she could get into bed.
Well, we'll let them have their sleep out.
But, bless me, Data, what have you done?
You've taken the chintz covers off all the
furniture.
The mistress told me to.
Can't buy covers on chairs, she says.
I don't want that slut to touch me.
What's the matter?
What have I done?
One day you will be in the gutter and I
will tread on your corpse.
I hate you.
You.
come all this way so early, eh?
Have you heard it?
I'm very sorry.
I can't go on.
They should be told.
I fully intend to pay you back.
You don't have enough money.
It's all right, David.
You come.
Not all at once.
In installments.
I'm not even jealous, you know.
I'm just not able to do this performance.
Tomorrow.
You act in front of that girl tonight.
Tomorrow we'll skin the hide of that
prick, Agar.
I have all these piles of extracts to put
in all at once.
Ah, yes, collectively.
Don't mess it up.
I don't know how to do it anymore.
I'm looking forward eagerly to see it.
Especially now I have this wonderful house
to work in.
Ah, yes.
And most of all, now that you have
the wife of your... I'll wait here for you.
Yes.
You have just two lines, and then you come
off again.
Try.
If it's too difficult.
We'll stop.
I believe I hear her coming.
Eh?
No.
Oh, and George, by the by.
I nearly forgot.
I have something here for you.
What is it, auntie?
Look here, my dear boy.
Have you really saved these for me,
auntie?
Eh?
Heather?
Isn't this touching, eh?
Sure.
Take it, Snappy.
Take a five minute interval.
Then we'll bring the curtain down.
Is that enough time?
Er, I can do that.
Yes, yes, we'll do that.
All right.
Stand by.
Don't touch those dangerous things,
please.
For my sake, Heather.
Eh?
I have to keep her on stage somehow.
Viv.
Viv.
I don't want Esther to leave the stage in
between acts.
If we bring her off, she's quite capable
of not coming back on.
I'll keep an eye on her.
No, she doesn't.
Leave the stage.
You change your costume on stage,
you do her make-up on stage.
The nurse has found some stuff for her
mouth.
Thanks.
Pick me up.
Did I forget any lines?
Fine.
Fine.
I was afraid of skipping some lines and
throwing you off.
No, you've been perfect.
You hit your marks every time.
I had to work with the prompter.
He says it's going very well.
Stand up for me now.
I found this preparation.
Very good.
Anyway, it's hardly bleeding anymore.
It's very clean.
That's fine.
You have one scene.
Come on.
What's that?
She had never been more restrained.
More effortless.
She seemed scarcely to be acting.
Only a magnetic current
seemed to have been set in
motion between her and
those who were watching her.
They held their breaths.
As if they were assisting at a real
tragedy.
As if, at any moment, this acting might
give birth to a new life.
A place to some horrible, naked passion of
mere nature.
Give the servant.
You've got to give her love.
Get back on stage.
Have you read the letter?
Yes.
They told the booksellers that you're
planning on giving a course of lectures.
That's my intention.
This is awful for me.
What?
What?
It's not so bad, is it?
No.
But it's humiliating for me.
I am a woman after all.
She's coming.
Yes, I knew it.
Heather!
Just fancy.
Owlette Loveborg is not going to get in
our way after all.
Our way?
Pray, leave me out of the question.
And you, what do you make of this paper?
Victory may be all very fine.
I've got to get changed.
I'm just going to leave you for a little
while because I've got to get changed.
I have a note from Hagar.
Do you want me to keep it for you?
I'll give it to you now.
We can't wait for it to be over,
can we?
That's right.
I've got to piss.
I'll come with you.
I'm sorry, Sean asked me to.
I no longer feel anything.
I wanted to feel the impression of life
when life penetrates you because I wasn't
feeling anything and I didn't know
anything.
And now everything happens very strong.
It burns each nerve.
It's like butchery.
Everything gets inside of me.
And I'm all torn.
The very greatest of pleasure.
I feel that I'm dying and it never stops.
I'll go in and...
How do you do it?
...on the sofa?
Feeling life all the time.
I don't believe you.
I think you must pretend because it hurts
so much you'd be screaming.
What is that?
I've heard it before.
Don't play.
Dance.
When will it stop?
Think of Aunt Rena.
You think it will stop?
And of Aunt Julia.
It's better to be locked up, isn't it?
You must never know anything.
I will be quiet.
It's not good to know.
It's all shit.
You lied to me.
I tell you what, Mrs. Obster.
You shall take the empty robot after Julia
does.
And then I shall come over in the evenings
and work there.
I hear what you're saying, Tessman.
But how will I get through the evenings?
Oh, I dare say Assessor
Brack will be so kind as
to look in now and then
even though I'm not here.
Every blessed evening.
And with all the pleasure in life, Mrs.
Tessman, we'll get on capitally together.
Yes, don't you hope so, Assessor Brack.
You as the one cock on the foul roost.
Playing those pistols again.
She shot herself.
Shot herself in the temple.
Just think of that.
Heaven help us.
People don't do such things.
As reflection returned through all the
confused suffering and excitement to her
deliberate, automatic
nature in which a great
shock had brought
about a kind of release.
She realized that all she had wanted during
most of her life had at last come about.
The note had been struck.
She had responded to it as she responded
to every suggestion.
Faultlessly.
She knew that she could
repeat the note whenever
she wished now that
she had once found it.
There would be no variation to allow for.
The actress was made at last.
She might take back her lover or never see
him again.
It would make no difference.
It would make no difference.
She repeated.
Over and over again.
Weeping uncontrollable tears.
I can't afford to do it otherwise because
I'm broke.
You don't have to counter.
You're so prosperous.
You've got the wrong person.
You're not talking to me.
I'll outlive you yet.
You'll see.
I'll get over it.
In spite of you, I'll get over it.
BURP.