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Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a And Doc, and pull them away from the Shiites. Troy shouts over the choppers. U.S. soldiers push the Shiites toward the border. The Shiites, including two who carry Vig's body, run toward the border unaccompanied by American protection. Troy pulls away from MPS, resisting arrest. Archie and Doc, not resisting, are handcuffed in front -- He and Doc are pulled away from Troy. Iraqi soldiers take the Shiites prisoner, grabbing them, throwing some to the ground. Troy looks over his shoulder at this as Imam's daughter is ripped from his arms and he is thrown to the ground and dragged. He collapses to one knee. Troy grimaces on the ground, he can't breathe, but the cuffs prevent him from releasing his valve. Troy struggles. Captain Van Meter leans down to Troy. He shouts over the choppers. Troy lies on the ground suffocating. Archie drags the MP holding him as he goes to General Horn. General Horn walks away as MPS stare at Troy on the ground, concerned. A US SOLDIER stares -- upset by what's happening, reaches in his pocket, pulls out a hunting knife, pops the blade, crouches down to Troy, exchanges a look with the MP standing by, and cuts Troy's plastic cuffs. Troy reaches with difficulty to the valve on his chest turns it -- and breathes. Archie pulls away from the MPs holding him and runs toward the lead truck -- where MPs grab and wrestle him down. An MP jumps into the truck, pushes the barrel over; 30 gold bars spill to the sand. The General looks at the gold. Troy and Doc, held in custody, watch. The General makes a 'CUT' signal to the choppers -- and the chopper engines cut off and whir down; it grows QUIET. THE U.S. Soldiers -- holding | In the beginning of our story, what was Major Archie trading in exchange for stories to the journalist Cathy? | Sex. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. the tube, which he tightens. A GUNSHOT SOUNDS -- Archie turns and looks over -- Troy sits up slowly and watches for a moment. Archie takes Vig's glasses off. Archie unscrews the valve on the tube in Troy's chest, and air hisses out. Troy looks relieved. Archie closes the valve. Troy watches, tense. Archie is heard in a crackling radio transmission inside Walter's helmet. Walter speaks into the small mouthpiece. He looks uncertain, worried. INTERCUT WITH Archie, who looks exasperated. He is sweating with a fever and his arm hurts. WIDER TO REVEAL HUNDREDS OF SNOW GLOBES are pulled from the shelves and put into old cloth bags. CLOSE ON the plastic Three Kings and Baby Jesus with the Mobil gas station glisten in the wet palm of Archie's hand. Archie looks at the Three Kings in his hand. Troy cracks open a snow globe, filters water with a Shiite. Dozens of Shiites are doing the same. Archie passes an urn to some parched Shiites who drink the water thirstily. Troy, Doc do the same. A Humvee with HAVICHON and Walter drives by behind the oblivious General, leading a convoy of several trucks. A PRIVATE runs up and hands General Horn a paper. Walter and Hash drive past Smithson and Paco and Cathy. She takes off and Smithson follows her. Troy looks pained, then releases the valve on the tube sticking through his chest bandage and there is a hiss of air. He looks relieved. There is the SOUND OF DISTANT MOTORS RUMBLING. An approaching convoy in the desert: six open U.S. personnel trucks, led by a Humvee. Archie, Troy, Doc, Imam, his daughter, dozens of Shiites watch the convoy approaching -- they hold their guns ready. The U.S. Military trucks and the Humvee pull up to the bunker. Walter Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a | In what part of the Iraqi officer's body do Conrad and Troy find the map? | His butt. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. | To what treasure do Troy, Conrade, Chief, and Archie believe the map will lead them? | Gold bullion. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the get out with their rifles ready. They release the safeties. Havichon, with his leg in a cast, stays back to man the mounted machine gun on the Humvee. Iraqi soldiers on the border nervously watch the Americans and the Shiites, holding their machine guns. 105 Shiites empty the trucks and gather in a crowd that walks toward the border. Two Shiite men carry Vig's body, wrapped in Arabic cloths. Archie, Troy, Doc, lead the crowd single file through a narrow opening in the razor wire. On the other side, the crowd spreads out and keeps walking. Archie, Troy, and Doc walk three abreast, 7 feet apart, rifles ready. Imam and Walter are behind, flanking them. FACES: CLOSE DOLLY - SHIITE Children, Women, Men, as they fearfully walk toward the border. The five U.S. Drivers flank the Shiites on either side, rifles ready. PAN TO - Troy suddenly drops to one knee. CHOPPERS ARE HEARD in the distance. They grow LOUDER. Imam turns and looks back. Archie turns around and looks. SIX APACHE CHOPPERS approach from the distance He lets go of Troy and starts jogging toward the border. Troy cannot jog, he crouches down, and is passed by the others. The Shiites look up at the choppers as they jog. Doc and Walter look up also. Archie does not. Havichon in the Humvee swings the mounted gun up to the choppers as they pass overhead, loud. PAN UP TO Six Apaches hover over everyone's heads and land in the 50 yards between Archie and the border, blocking his path, blowing up dust. Archie, Troy, Doc, Imam, the Shiites turn and wince in the blowing sand. 10 U.S. MILITARY POLICE jump from the landing choppers, followed by another TEN U.S. TROOPS with rifles. Iraqi soldiers watch apprehensively. M.P.S grab Archie, Troy, | What do Conrade, Chief, and Archie have to do before they can help the rebels and thier families to reach the Iranian border? | Rescue Troy. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. Doc unleashes the football. SLIGHTLY SLOW MOTION: The chopper comes crashing to the ground in a heap of metal. The rotary spins off, whips over Archie, Troy, and Doc's heads and smashes into the bunker. Troy and Doc look at each other, and punch their fists together. Troy notices that he's wet his pants. Archie rolls over bodies lying on the ground, pulls out their weapons. Troy and Doc take rifles from wounded Iraqis. Doc nervously scans the area with his pistol pointed. 50 Shiite prisoners start streaming out of the bunker. Imam directs the Shiites to stay clustered near the bunker. An IRAQI SOLDIER jumps up just as Archie knocks him to the ground from behind and twists the gun away. Doc binds the soldier's hands with a plastic cuff. Archie pulls pistols from the bloody bodies of the two Iraqis in the chopper. He points to the flaming wrecked Infiniti. He points his pistol at Imam. Troy and Imam look at each other a moment, Troy still points his pistol at Imam. He hugs Imam. Troy moves nervously. Troy and Archie look at each other, smile slightly. They all turn to look. WIDE SHOT -- Vig pops up in the desert, 150 yards away. Vig comes running. Troy smiles as he steps in the direction of Vig. Suddenly a RIFLE SHOT RINGS OUT, Troy jumps. SLIGHTLY SLOW MOTION -- Vig is hit in the collar bone, ONLY THE SOUND OF THE BULLET SMASHING HIS FLESH AND BONE. He is jerked, falls to his knees, but gets up, keeps staggering toward Troy, 125 yards away. Troy looks stunned. Archie turns sharply to his right and FIRES a rifle. An IRAQI SOLDIER, 150 yards to the side, drops to the ground as Archie and Doc continue to hit him with THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives | Who all gets shot and killed during the Troy rescue? | Conrade. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the get out with their rifles ready. They release the safeties. Havichon, with his leg in a cast, stays back to man the mounted machine gun on the Humvee. Iraqi soldiers on the border nervously watch the Americans and the Shiites, holding their machine guns. 105 Shiites empty the trucks and gather in a crowd that walks toward the border. Two Shiite men carry Vig's body, wrapped in Arabic cloths. Archie, Troy, Doc, lead the crowd single file through a narrow opening in the razor wire. On the other side, the crowd spreads out and keeps walking. Archie, Troy, and Doc walk three abreast, 7 feet apart, rifles ready. Imam and Walter are behind, flanking them. FACES: CLOSE DOLLY - SHIITE Children, Women, Men, as they fearfully walk toward the border. The five U.S. Drivers flank the Shiites on either side, rifles ready. PAN TO - Troy suddenly drops to one knee. CHOPPERS ARE HEARD in the distance. They grow LOUDER. Imam turns and looks back. Archie turns around and looks. SIX APACHE CHOPPERS approach from the distance He lets go of Troy and starts jogging toward the border. Troy cannot jog, he crouches down, and is passed by the others. The Shiites look up at the choppers as they jog. Doc and Walter look up also. Archie does not. Havichon in the Humvee swings the mounted gun up to the choppers as they pass overhead, loud. PAN UP TO Six Apaches hover over everyone's heads and land in the 50 yards between Archie and the border, blocking his path, blowing up dust. Archie, Troy, Doc, Imam, the Shiites turn and wince in the blowing sand. 10 U.S. MILITARY POLICE jump from the landing choppers, followed by another TEN U.S. TROOPS with rifles. Iraqi soldiers watch apprehensively. M.P.S grab Archie, Troy, THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives | How much gold is each rebel given before while waiting to be transported to the border? | A bar of gold each. |
Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives SHOT - looking straight down. The cars drive three abreast down the approach road to the bunker. The Infiniti is in the middle, flanked by the Rolls on the left and the Mercedes on the right. He jumps up and down and points, but the Infiniti goes far to the side of the bunker and <u>explodes</u> into some ruins. The two guards point their guns at Vig and the Shiite and they run into the desert as bullets pop around them. They run toward the bunker, Archie with a wad of plastic explosive and nails in one hand and a cigarette lighter in the other. He HEARS the CHIRP of a car alarm being activated as he runs to the bunker. Imam finds a vent hole on the low facade of the bunker, pulls off a grill. Archie lights a fuse sticking out of the plastic explosive, and drops it into the vent. An EXPLOSION elsewhere in the bunker causes the lights to flicker out. Archie reaches in, grabs his pistol, and bolts as a launched grenade blows the Mercedes. 6 Iraqis run for it, into the desert. 2 Iraqis throw their hands up in surrender while 2 look ambivalent, one holds <u>a</u> <u>stack of new Levis.</u> Doc raises a hand to stop his Shiite gunmen from firing, but they fire anyway and 3 Iraqis fire back -- the Shiite next to Doc is hit in the face. He reaches out and holds the rifle of a Shiite. Everyone stops firing, slowly the Iraqis drop their guns. Doc has WET <b> HIS PANTS. </b> Archie runs up from the right, grabs Doc's arm and they run past surrendering Iraqi soldiers and into the front entrance. of the bunker. Imam takes cover on the side of the Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a Doc, Vig watch with trepidation as Archie walks toward the soldier slashing the Man In Glasses, who carries the Girl. Archie reaches over and grabs the slasher's wrist, pulling the blade away from the man's body. He holds the soldier's wrist up. The soldier grabs for Archie's throat with his free hand, but Archie grabs this hand and twists it away, putting the Iraqi into a choke hold. The soldier drops the knife in the dirt. The bloodied Man In Glasses collapses to the ground, clutching the Little Girl in arm casts. Troy, Doc, Vig point their guns. The Iraqi Major is pissed. Archie sweeps the soldier's feet out, pins the soldier face down on the ground, and throws the soldier's gun away. Archie helps the Shiite Man In Glasses to his feet, takes the Girl, and walks them over to the Humvee. Two Shiite prisoners try to stand up, the Iraqi guards kick them back down. The Iraqi Major raises his machine gun as he stands next to the Humvee, but Archie grabs the barrel and holds it down. Troy looks scared as he points his pistol at the Iraqi soldiers, who point their rifles back at Troy and Doc. CUT BACK TO the Major pauses, then smashes the barrel of his machine gun, with Archie's hand, against the Humvee. Archie winces, but doesn't let go. The Major does it again, smashing Archie's hand. Archie winces, doesn't let go. The Major tries to jerk the barrel up, but Archie pushes it down, and it fires by accident, into the Major's leg. The Major howls with pain. Blood dribbles out the bottom of his pants leg like piss. Troy covers Iraqi 6 with his rifle. Vig nervously swings the mounted machine gun from one Iraqi in the rear to another, | What does Archie offer to the American officers in exchange for the release of the refugees? | The buried gold. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the THE SHELLS and puts them into his pocket. Bile fluid fills the cavity. They look at Archie, scared by this. The Humvee drives fast into the central square of a small village of low, sand-colored stucco buildings and shanties. Vig drives as the Humvee speeds around the town square, zooming past scared Shiites in black robes, a few skinny dogs, a few bewildered Iraqi soldiers. He studies the map and points to a decayed green building. Vig jerks the wheel right. They drive fast. Archie points left. Vig jerks the wheel left, drives straight toward a low cement building with two Iraqi soldiers in front. Iraqi soldiers look scared as the Humvee drives up, like it's going to hit them, and stops, flag fluttering in the breeze. Vig stands and speaks into a megaphone. Troy and Doc leap from the Humvee with pistols drawn and their free hands held up in a 'halt' sign. The TWO IRAQI GUARDS look stunned as Troy and Doc simply take their machine guns and put the Iraqis face down on the ground. Troy and Doc pull out <u>plastic twist hand-cuffs</u>, as used in urban riots. Archie bounds forward holding up a thick white document. Troy finishes handcuffing one of the Iraqi soldiers, as a gaunt mother, with a baby in her arms, opens her blouse, revealing her small breasts. Other peasants gather. Troy looks shocked until Archie suddenly pushes him past the Iraqi mother and to the door of the bunker, which Doc holds. Iraqi women and children kiss Vig's feet. The five Iraqi soldiers exit the bunker with their hands raised, and the starved Shiite civilians spit and throw stones at them while 'I Get Around' keeps playing. Troy shoots the door lock with his pistol. Then backs up and gives Doc, Vig watch with trepidation as Archie walks toward the soldier slashing the Man In Glasses, who carries the Girl. Archie reaches over and grabs the slasher's wrist, pulling the blade away from the man's body. He holds the soldier's wrist up. The soldier grabs for Archie's throat with his free hand, but Archie grabs this hand and twists it away, putting the Iraqi into a choke hold. The soldier drops the knife in the dirt. The bloodied Man In Glasses collapses to the ground, clutching the Little Girl in arm casts. Troy, Doc, Vig point their guns. The Iraqi Major is pissed. Archie sweeps the soldier's feet out, pins the soldier face down on the ground, and throws the soldier's gun away. Archie helps the Shiite Man In Glasses to his feet, takes the Girl, and walks them over to the Humvee. Two Shiite prisoners try to stand up, the Iraqi guards kick them back down. The Iraqi Major raises his machine gun as he stands next to the Humvee, but Archie grabs the barrel and holds it down. Troy looks scared as he points his pistol at the Iraqi soldiers, who point their rifles back at Troy and Doc. CUT BACK TO the Major pauses, then smashes the barrel of his machine gun, with Archie's hand, against the Humvee. Archie winces, but doesn't let go. The Major does it again, smashing Archie's hand. Archie winces, doesn't let go. The Major tries to jerk the barrel up, but Archie pushes it down, and it fires by accident, into the Major's leg. The Major howls with pain. Blood dribbles out the bottom of his pants leg like piss. Troy covers Iraqi 6 with his rifle. Vig nervously swings the mounted machine gun from one Iraqi in the rear to another, that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. Doc and Vig look pissed. Archie's arm is in pain. Archie looks at him. He extends his hand. They shake. Archie looks around. He sees Imam's daughter, other bandaged children looking at him. A few mothers. Doc pulls gold bars from a case and holds them up Fifty Shiites turn and look at him silently. Doc dumps a whole suitcase of gold bars. Imam translates. People stare at the gold and say nothing. His daughter looks at him and laughs -- until her laughter becomes scary, hysterical and Imam tries to hold her still and she won't stop as Archie, Doc, Vig watch. The Interrogator lights a Marlboro, exhales. PUSH IN TO CLOSE UP on TROY'S FACE as the smoke envelopes him. Interrogator laughs and takes a practice golf swing. Holding the driver at the head, he raps the bridge of Troy's nose. He raps Troy's nose repeatedly to make his point. He breaks Troy's nose with a crack. Doc and Vig load and handle the old pistols. Archie pulls two of the colored footballs from the beat up pack. He looks at Doc as if to say "Great." HIGH WIDE SHOT: A lone Iraqi military truck, mint condition.' Archie, Vig, and Doc form a semicircle, surrounding the truck. They are all 40 yards back from the truck. No response. Suddenly Vig's pistol FIRES. His gunshot blows a hole in the Iraqi truck -- which deflates like a huge beach ball, circling wildly until it lies in a heap of collapsed camouflage canvass while 50 yards away -- 55 SHIITES flip sand-colored blankets off and stand up in the desert to look. Doc lifts the limp canvass of the deflated truck. HIGH WIDE SHOT: They walk in a single file line in the desert. Archie in front, carries a | How does Major Archie Gates get the reporter, Adriana, preoccupied so that he can search for the gold? | He sends Specialist Wogeman to aid her on a false lead |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. as the Humvee picks up speed. Troy and Doc leap out, hold pistols out at arm's length as they accost TWO IRAQI SOLDIERS pointing rifles at them. Troy and Doc shove the two Iraqis face down in the dirt and cuff their hands behind their backs. An IRAQI SOLDIER steps into the corridor at the far end, sees Archie coming, looks terrified, and runs back. Archie and Troy run right past the scared Iraqi. Doc comes third, slamming the Iraqi face down and cuffing him. Archie kicks a door open and goes in, followed by Troy. A large room; walls lined with shelves full of brand new appliances: blenders, cuisinarts, CD players, small TVs. A huge portrait of Saddam Hussein covers one wall. A television plays a rerun of 'Happy Days' in Arabic. Another TV: CNN's first reports of the Rodney King beating. An IRAQI CAPTAIN sits in a chair in front of the TVs. TWO IRAQIS sit loading rifles. Two others sit at a radio. They all jump to their feet when Archie bursts in, except for the officer watching 'Happy Days' and CNN.. One of the rifle-loading Iraqis tries to run. Troy heads him off with his pistol -- The other rifle-loader stands looking scared. WHIP PAN TO Doc, who turns the shortwave radio off, pushes the TWO IRAQIS to the ground. One goes peacefully, the other resists; Doc smacks him in the side of the head with his pistol, which fires accidentally. Everyone grabs their heads and ducks -- except Archie. Archie is offered a cuisinart by the Iraqi Captain. Troy has one rifle Iraqi on the ground, but the second is on his knees, putting a CD into a mini-stereo. The Iraqi looks puzzled. He pushes the man face down, cuffs his hands. Olivia Newton- John's SEVEN IRAQI SOLDIERS pour out swinging clubs, followed by an IRAQI MAJOR, about 45. The Iraqi soldiers savagely beat the Shiites. Vig looks horrified as he watches. TWO SOLDIERS grab the Woman from the Man With Glasses, and drag her into a circle with three other soldiers; the ten year-old girl with dirty casts on both arms, screams and punches at them. The Man With Glasses is held down at knife point. The Iraqi Major glances over at Vig, but the soldiers do not stop brutalizing the Shiites -- they round up eight more Shiites and make them lay face down. Archie goes through the door, followed by the Iraqi Interrogator and Captain. Archie stands looking at the suitcases with Troy and Doc. Several of the big Vuitton suitcases are laid on their sides by Archie, Troy and Doc. The Iraqi Captain paces frantically punching and kicking the walls and talking (SUBTITLED in ENGLISH). The suitcases are quickly unzipped. One suitcase is full of gleaming antique silverware. One suitcase is full of jewelry. Archie opens one full of hundreds of gold Cartier watches. Troy and Doc slip a handful of jewelry into their pockets. The Iraqi Captain goes nuts, throwing himself on Doc's back, choking Doc, who flails about. Troy punches the Iraqi in the head and rips him off Doc. Archie puts his pistol in the man's face. He turns to Doc. Doc and Troy, out of breath, empty their pockets of jewelry. Archie opens another Vuitton suitcase and pushes it aside - it's full of Kuwaiti passports. When Doc opens the next suitcase, he freezes. Archie looks over and freezes. Troy closes cuffs behind the Captain's back and looks over his shoulder -- wide-eyed. The very large Vuitton suitcase is filled with five-kilo bricks of gold. They all | Where does the majority of the stolen gold eventually go? | It is returned to Kuwait. |
pulls away. The tank rolls in from the side, but the tank turret WHINES and CLICKS, stuck in place. An Iraqi pops out the top of the tank. He gestures to the whining, stuck, turret. Another Iraqi tries pushing the turret. The truck with the small rocket launcher pulls up. WHIP PAN TO a Shiite boy with an old rifle in the third floor window of a small stone building. Iraqis shout and point at the sniper. The tank turns to the building. SLOW MOTION: Doc looks straight up with the binoculars. SLOW MOTION: a rocket streaks a squiggly white line of smoke across the sky. REAR OF HUMVEE, SLOW MOTION: half the Shiites hunch down, bracing for an explosion while the other half crane their necks, looking straight up into the sky. They cower when there is an EXPLOSION above. PAN UP TO - REGULAR SPEED: the ROCKET EXPLODES in the sky a hundred yards above the Humvee -- INTO A BROWN CLOUD. Troy leans out the window of the moving truck and squints up at the brown gas cloud above as he drives fast. Archie and Doc grapple to put on their gas masks. Vig reaches around behind him for his mask as he drives. He accidentally veers off the road into the open desert. ZOOM IN TO a field of mines sitting right on top of the sand, 20 yards ahead. [Iraqi mines were often placed this way] ZOOM IN ON Archie's alarmed face Archie dives from the Humvee followed by Vig, Doc, the Man In Glasses holding the Little Girl, the other Shiites, including the Two Five Year Olds. The Hummer drives ten yards, hits the first mine with an explosion and flies into the air -- Troy sits sideways as the truck slides across the Doc unleashes the football. SLIGHTLY SLOW MOTION: The chopper comes crashing to the ground in a heap of metal. The rotary spins off, whips over Archie, Troy, and Doc's heads and smashes into the bunker. Troy and Doc look at each other, and punch their fists together. Troy notices that he's wet his pants. Archie rolls over bodies lying on the ground, pulls out their weapons. Troy and Doc take rifles from wounded Iraqis. Doc nervously scans the area with his pistol pointed. 50 Shiite prisoners start streaming out of the bunker. Imam directs the Shiites to stay clustered near the bunker. An IRAQI SOLDIER jumps up just as Archie knocks him to the ground from behind and twists the gun away. Doc binds the soldier's hands with a plastic cuff. Archie pulls pistols from the bloody bodies of the two Iraqis in the chopper. He points to the flaming wrecked Infiniti. He points his pistol at Imam. Troy and Imam look at each other a moment, Troy still points his pistol at Imam. He hugs Imam. Troy moves nervously. Troy and Archie look at each other, smile slightly. They all turn to look. WIDE SHOT -- Vig pops up in the desert, 150 yards away. Vig comes running. Troy smiles as he steps in the direction of Vig. Suddenly a RIFLE SHOT RINGS OUT, Troy jumps. SLIGHTLY SLOW MOTION -- Vig is hit in the collar bone, ONLY THE SOUND OF THE BULLET SMASHING HIS FLESH AND BONE. He is jerked, falls to his knees, but gets up, keeps staggering toward Troy, 125 yards away. Troy looks stunned. Archie turns sharply to his right and FIRES a rifle. An IRAQI SOLDIER, 150 yards to the side, drops to the ground as Archie and Doc continue to hit him with Ending on the wide-eyed Little Girl with her hand in her mouth, staring. ANOTHER ANGLE -- replay of entire shoot out at REGULAR SPEED. Ending on Troy wincing as he holds his chest. Archie's lightly blood-flecked face stares down at the dead Major, clouds pass overhead. Dead Iraqi 6 lies with legs twisted under his body. A rivulet of blood trickles through the sand. A spider runs across it and gets stuck. LOW ANGLE up at Doc, stone still, staring straight ahead as clouds pass slowly above him in the sky. Vig nervously swings the mounted machine gun back and forth. Troy, drenched in sweat, looks pained as he unbuttons his shirt: there's a gunshot in his kevlar vest. The slug drops out of the dent, into his hand -- he exhales. Iraqis 2, 3, 4, and the Sargeant, throw their hands up in surrender and drop their weapons. Big Iraqi 2 walks toward the Humvee in surrender, and bows down. Vig swings the mounted machine gun toward the three remaining Iraqi soldiers who stand over eight terrified Shiites. Doc follows Archie over to the three Iraqi soldiers. The soldiers get on their knees, pleading for mercy. Doc takes the Iraqi soldiers' guns and pushes them down. Shiites and Iraqi soldiers watch the debate nervously. Doc points to the Shiites. Troy displays the gunshot in the Kevlar. A tank rolls toward them fast, down a narrow side street, followed by a truck with a rocket launcher. Vig struggles to lift the grenade launcher. Troy jumps into the luggage-packed truck, starts the engine. Vig starts the Humvee; Archie jumps in next to Vig. PAN TO the eight Shiites, plus the Man In Glasses and the Little Girl, jam into the crowded Humvee. Doc jumps in. The tank approaches. The Humvee Walter and the Drivers in custody -- stand and watch Archie. General Horn picks up a gold brick. General Horn looks at Archie. Everyone stares at General Horn. After a pause, the General fires his pistol into the air. Captain Van Meter and General Horn walk 40 yards to the frozen Iraqi soldiers and the terrified Shiites. Archie, Troy, Doc in handcuffs with MPS, watch. Walter and the other U.S. Soldiers watch from afar as Captain Van Meter and General Horn walk into the midst of Iraqi soldiers. An OLDER IRAQI GENERAL steps forward and salutes. Archie, Troy, Doc, U.S. soldiers watch from a distance. It is QUIET. No one says anything. Pan across Paco taping. He walks up and forcibly pushes the camera to the ground, Van Meter pushes Cathy's camera down. MPs take the tapes from the cameras. He signals the choppers to start up. General Horn walks over to Troy, Archie, and Doc. He walks into a chopper, which is now revving at full speed. PAN TO Troy, Archie, Doc turn to the border and watch. Walter, the handcuffed Drivers, the MPS and other U.S. Soldiers also watch. The Shiites are released by the Iraqis. They collect themselves and gather in a group. The group walks over the border and is received by the relief workers. Troy, Archie, Doc watch. A U.S. Soldier WHISTLES through the loud choppers. Then another Soldier joins in, WHISTLING and CLAPPING. Then another soldier, until all twenty U.S. Soldiers and MPs present are whistling and cheering Troy, Archie, and Doc as they stand there while the choppers throb. 50 yards away: Imam holds his daughter, on the Iran side, about to get into a Red Crescent bus. Imam and his daughter wave. Archie raises his handcuffed wrists to wave back; Troy and Doc follow, raising their cuffed hands to wave. "I Get Around" by the Beach Boys KICKS ON. They each served eighteen months in a military prison. Bill Smithson and Cathy Daitch's testimony resulted in reduced sentences. Troy Barlow runs his own carpet company in Torrance, Cal. that is connected to the wire around Troy's jaw. A THIRD IRAQI reaches forward and turns a dial. The SECOND IRAQI murmurs defensively and turns the dial back. The Interrogator turns back to Troy. He is jolted again -- his face contorts, he bites his lip. Troy starts to cry, represses it. His lip is bleeding. Troy says nothing. Troy starts shaking slightly. Emotion comes into the INTERROGATOR'S VOICE as he says this. The other two guards listen sadly. CLOSE UP the two guards -- one of them wipes away a tear. At the end of the hall, Archie grits his teeth in pain as a CLERIC uses a turkey baster to shoot alcohol into his infected wound. Archie SCREAMS in pain. Doc paces, exhaling; he has white ointment on his face. A Shiite changes Vig's bloody bandage, while a DEAD BODY is laid next to Vig and wrapped in cloths; two clerics chant. Doc stares at Vig. Vig reaches out blindly for Doc's hand. Doc looks for a moment at Vig's hand in the air, reaching, then takes it. They remain silent for a moment, hands clasped. Archie walks up, his arm bandaged, and inspects Vig's face. Archie, Doc, and Vig check the Vuitton suitcases, opening them, looking at the gold, shutting them. PAN TO children in bandages watch Archie inventory the gold. He looks at Doc and Vig. They look at Archie. The Shiite Man In Glasses puts oils on his Little Girl's face. The Shiite Man In Glasses does not answer. Vig wears glasses over his eye bandage; he mimes the Girl. They look at him, surprised. He wipes bits of white foam from the corners of his mouth. Doc and Vig look at Archie. Archie looks at him. Archie looks at Vig and Doc. | Who does Troy call when he is being held by Iraqi soldiers in a bunker? | His wife. |
a carriage was heard. The family party were going to see _Cendrillon_ at the Varietes, while the two younger apprentices each received a crown of six francs, with permission to go wherever they chose, provided they were in by midnight. Notwithstanding this debauch, the old cloth-merchant was shaving himself at six next morning, put on his maroon-colored coat, of which the glowing lights afforded him perennial enjoyment, fastened a pair of gold buckles on the knee-straps of his ample satin breeches; and then, at about seven o'clock, while all were still sleeping in the house, he made his way to the little office adjoining the shop on the first floor. Daylight came in through a window, fortified by iron bars, and looking out on a small yard surrounded by such black walls that it was very like a well. The old merchant opened the iron-lined shutters, which were so familiar to him, and threw up the lower half of the sash window. The icy air of the courtyard came in to cool the hot atmosphere of the little room, full of the odor peculiar to offices. The merchant remained standing, his hand resting on the greasy arm of a large cane chair lined with morocco, of which the original hue had disappeared; he seemed to hesitate as to seating himself. He looked with affection at the double desk, where his wife's seat, opposite his own, was fitted into a little niche in the wall. He contemplated the numbered boxes, the files, the implements, the cash box--objects all of immemorial origin, and fancied himself in the room with the shade of Master Chevrel. He even pulled out the high stool on which he had once sat in the presence of his departed master. This stool, covered with black leather, the horse-hair cook with due knowledge. They knew nothing of the pleasures of the world; and, seeing how their parents spent their exemplary lives, they very rarely suffered their eyes to wander beyond the walls of their hereditary home, which to their mother was the whole universe. The meetings to which family anniversaries gave rise filled in the future of earthly joy to them. When the great drawing-room on the second floor was to be prepared to receive company--Madame Roguin, a Demoiselle Chevrel, fifteen months younger than her cousin, and bedecked with diamonds; young Rabourdin, employed in the Finance Office; Monsieur Cesar Birotteau, the rich perfumer, and his wife, known as Madame Cesar; Monsieur Camusot, the richest silk mercer in the Rue des Bourdonnais, with his father-in-law, Monsieur Cardot, two or three old bankers, and some immaculate ladies--the arrangements, made necessary by the way in which everything was packed away--the plate, the Dresden china, the candlesticks, and the glass--made a variety in the monotonous lives of the three women, who came and went and exerted themselves as nuns would to receive their bishop. Then, in the evening, when all three were tired out with having wiped, rubbed, unpacked, and arranged all the gauds of the festival, as the girls helped their mother to undress, Madame Guillaume would say to them, "Children, we have done nothing today." When, on very great occasions, "the portress nun" allowed dancing, restricting the games of boston, whist, and backgammon within the limits of her bedroom, such a concession was accounted as the most unhoped felicity, and made them happier than going to the great balls, to two or three of which Guillaume would take the girls at the time of the Carnival. And once a year the worthy draper gave an entertainment, when he spared no expense. find expression only in cipher. "How much H. N. Z.?"--"All sold."--"What is left of Q. X.?"--"Two ells."--"At what price?"--"Fifty-five three."--"Set down A. at three, with all of J. J., all of M. P., and what is left of V. D. O."--A hundred other injunctions equally intelligible were spouted over the counters like verses of modern poetry, quoted by romantic spirits, to excite each other's enthusiasm for one of their poets. In the evening Guillaume, shut up with his assistant and his wife, balanced his accounts, carried on the balance, wrote to debtors in arrears, and made out bills. All three were busy over this enormous labor, of which the result could be stated on a sheet of foolscap, proving to the head of the house that there was so much to the good in hard cash, so much in goods, so much in bills and notes; that he did not owe a sou; that a hundred or two hundred thousand francs were owing to him; that the capital had been increased; that the farmlands, the houses, or the investments were extended, or repaired, or doubled. Whence it became necessary to begin again with increased ardor, to accumulate more crown-pieces, without its ever entering the brain of these laborious ants to ask--"To what end?" Favored by this annual turmoil, the happy Augustine escaped the investigations of her Argus-eyed relations. At last, one Saturday evening, the stock-taking was finished. The figures of the sum-total showed a row of 0's long enough to allow Guillaume for once to relax the stern rule as to dessert which reigned throughout the year. The shrewd old draper rubbed his hands, and allowed his assistants to remain at table. The members of the crew had hardly swallowed their thimbleful of some home-made liqueur, when the rumble of hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more these old customs, he stood sternly awaiting the appearance of his three assistants, ready to scold them in case they were late. These young disciples of Mercury knew nothing more terrible than the wordless assiduity with which the master scrutinized their faces and their movements on Monday in search of evidence or traces of their pranks. But at this moment the old clothier paid no heed to his apprentices; he was absorbed in trying to divine the motive of the anxious looks which the young man in silk stockings and a cloak cast alternately at his signboard and into the depths of his shop. The daylight was now brighter, and enabled the stranger to discern the cashier's corner enclosed by a railing and screened by old green silk curtains, where were kept the immense ledgers, the silent oracles of the house. The too inquisitive gazer seemed to covet this little nook, and to be taking the plan of a dining-room at one side, lighted by a skylight, whence the family at meals could easily see the smallest incident that might occur at the shop-door. So much affection for his dwelling seemed suspicious to a trader who had lived long enough to remember the law of maximum prices; Monsieur Guillaume naturally thought that this sinister personage had an eye to the till of the Cat and Racket. After quietly observing the mute duel which was going on between his master and the stranger, the eldest of the apprentices, having seen that the young man was stealthily watching the windows of the third floor, ventured to place himself on the stone flag where Monsieur Guillaume was standing. He took two steps out into the street, raised his head, and fancied that he caught sight of Mademoiselle Augustine Guillaume in hasty retreat. The | The house of business, Rue Saint-Denis, is known by what sign? | The Cat and Racket |
all were treated in such a way as to suggest that the artist had meant to make game of the shop-owner and of the passing observer. Time, while impairing this artless painting, had made it yet more grotesque by introducing some uncertain features which must have puzzled the conscientious idler. For instance, the cat's tail had been eaten into in such a way that it might now have been taken for the figure of a spectator--so long, and thick, and furry were the tails of our forefathers' cats. To the right of the picture, on an azure field which ill-disguised the decay of the wood, might be read the name "Guillaume," and to the left, "Successor to Master Chevrel." Sun and rain had worn away most of the gilding parsimoniously applied to the letters of this superscription, in which the Us and Vs had changed places in obedience to the laws of old-world orthography. To quench the pride of those who believe that the world is growing cleverer day by day, and that modern humbug surpasses everything, it may be observed that these signs, of which the origin seems so whimsical to many Paris merchants, are the dead pictures of once living pictures by which our roguish ancestors contrived to tempt customers into their houses. Thus the Spinning Sow, the Green Monkey, and others, were animals in cages whose skills astonished the passer-by, and whose accomplishments prove the patience of the fifteenth-century artisan. Such curiosities did more to enrich their fortunate owners than the signs of "Providence," "Good-faith," "Grace of God," and "Decapitation of John the Baptist," which may still be seen in the Rue Saint-Denis. However, our stranger was certainly not standing there to admire the cat, which a minute's attention sufficed to stamp on his memory. The young an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on | What type of are style is Theodore de Sommervieux known for? | Interiors and chiaroscuro effects |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully | What is the name of the other woman Theodore forms an attachment to, due to his unhappy marriage to Augustine? | Duchesse de Carigliano |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more which concern women--well enough to have amused myself by seeking the clue to the riddle. Well, my sweet child, those worthy women had the gift of analyzing their husbands' nature; instead of taking fright, like you, at their superiority, they very acutely noted the qualities they lacked, and either by possessing those qualities, or by feigning to possess them, they found means of making such a handsome display of them in their husbands' eyes that in the end they impressed them. Also, I must tell you, all these souls which appear so lofty have just a speck of madness in them, which we ought to know how to take advantage of. By firmly resolving to have the upper hand and never deviating from that aim, by bringing all our actions to bear on it, all our ideas, our cajolery, we subjugate these eminently capricious natures, which, by the very mutability of their thoughts, lend us the means of influencing them." "Good heavens!" cried the young wife in dismay. "And this is life. It is a warfare----" "In which we must always threaten," said the Duchess, laughing. "Our power is wholly factitious. And we must never allow a man to despise us; it is impossible to recover from such a descent but by odious manoeuvring. Come," she added, "I will give you a means of bringing your husband to his senses." She rose with a smile to guide the young and guileless apprentice to conjugal arts through the labyrinth of her palace. They came to a back-staircase, which led up to the reception rooms. As Madame de Carigliano pressed the secret springlock of the door she stopped, looking at Augustine with an inimitable gleam of shrewdness and grace. "The Duc de Carigliano adores me," said she. "Well, he dare not enter | What does the Duchesse de Carigliano view marriage as? | Warfare |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | What does Theodore give to the Duchesse de Carigliano? | The portrait of his wife, Augustine |
the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | Where do Augustine and Theodore get married? | Saint-Leu |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, which concern women--well enough to have amused myself by seeking the clue to the riddle. Well, my sweet child, those worthy women had the gift of analyzing their husbands' nature; instead of taking fright, like you, at their superiority, they very acutely noted the qualities they lacked, and either by possessing those qualities, or by feigning to possess them, they found means of making such a handsome display of them in their husbands' eyes that in the end they impressed them. Also, I must tell you, all these souls which appear so lofty have just a speck of madness in them, which we ought to know how to take advantage of. By firmly resolving to have the upper hand and never deviating from that aim, by bringing all our actions to bear on it, all our ideas, our cajolery, we subjugate these eminently capricious natures, which, by the very mutability of their thoughts, lend us the means of influencing them." "Good heavens!" cried the young wife in dismay. "And this is life. It is a warfare----" "In which we must always threaten," said the Duchess, laughing. "Our power is wholly factitious. And we must never allow a man to despise us; it is impossible to recover from such a descent but by odious manoeuvring. Come," she added, "I will give you a means of bringing your husband to his senses." She rose with a smile to guide the young and guileless apprentice to conjugal arts through the labyrinth of her palace. They came to a back-staircase, which led up to the reception rooms. As Madame de Carigliano pressed the secret springlock of the door she stopped, looking at Augustine with an inimitable gleam of shrewdness and grace. "The Duc de Carigliano adores me," said she. "Well, he dare not enter at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent adjoining boudoir, were heard by Augustine, and her heart beat violently. "The lady is in there," replied the maid. "You are an idiot! Show her in," replied the Duchess, whose voice was sweeter, and had assumed the dulcet tones of politeness. She evidently now meant to be heard. Augustine shyly entered the room. At the end of the dainty boudoir she saw the Duchess lounging luxuriously on an ottoman covered with brown velvet and placed in the centre of a sort of apse outlined by soft folds of white muslin over a yellow lining. Ornaments of gilt bronze, arranged with exquisite taste, enhanced this sort of dais, under which the Duchess reclined like a Greek statue. The dark hue of the velvet gave relief to every fascinating charm. A subdued light, friendly to her beauty, fell like a reflection rather than a direct illumination. A few rare flowers raised their perfumed heads from costly Sevres vases. At the moment when this picture was presented to Augustine's astonished eyes, she was approaching so noiselessly that she caught a glance from those of the enchantress. This look seemed to say to some one whom Augustine did not at first perceive, "Stay; you will see a pretty woman, and make her visit seem less of a bore." On seeing Augustine, the Duchess rose and made her sit down by her. "And to what do I owe the pleasure of this visit, madame?" she said with a most gracious smile. "Why all the falseness?" thought Augustine, replying only with a bow. Her silence was compulsory. The young woman saw before her a superfluous witness of the scene. This personage was, of all the Colonels in the army, the youngest, the most fashionable, and the finest man. His face, full of life and youth, but | Why does Augustine go to visit the Duchesse de Carigliano? | To get advice on how to win back the heart of her husband Theodore. |
hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux of legal proceedings. Augustine thanked them, and returned home even more undecided than she had been before consulting them. She now ventured to go to the house in the Rue du Colombier, intending to confide her troubles to her father and mother; for she was like a sick man who, in his desperate plight, tries every prescription, and even puts faith in old wives' remedies. "What, child, your husband shuts himself into a room with naked women! And you are so simple as to believe that he draws them?" As she uttered this exclamation, the grandmother laid her spectacles on a little work-table, shook her skirts, and clasped her hands on her knees, raised by a foot-warmer, her favorite pedestal. "But, mother, all artists are obliged to have models." "He took good care not to tell us that when he asked leave to marry you. If I had known it, I would never had given my daughter to a man who followed such a trade. Religion forbids such horrors; they are immoral. And at what time of night do you say he comes home?" "At one o'clock--two----" The old folks looked at each other in utter amazement. "Then he gambles?" said Monsieur Guillaume. "In my day only gamblers stayed out so late." Augustine made a face that scorned the accusation. "He must keep you up through dreadful nights waiting for him," said Madame Guillaume. "But you go to bed, don't you? And when he has lost, the wretch wakes you." "No, mamma, on the contrary, he is sometimes in very good spirits. Not unfrequently, indeed, when it is fine, he suggests that I should get up and go into the woods." "The woods! At that hour? Then have you such a small set of rooms that his bedroom and his | Who did Augustine's parents originally want her to marry? | Joseph Lebas |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux permission to release the young girl for two hours from her dull labors. Augustine was thus able to make her way through the crowd to see the crowned work. A fit of trembling shook her like an aspen leaf as she recognized herself. She was terrified, and looked about her to find Madame Roguin, from whom she had been separated by a tide of people. At that moment her frightened eyes fell on the impassioned face of the young painter. She at once recalled the figure of a loiterer whom, being curious, she had frequently observed, believing him to be a new neighbor. "You see how love has inspired me," said the artist in the timid creature's ear, and she stood in dismay at the words. She found supernatural courage to enable her to push through the crowd and join her cousin, who was still struggling with the mass of people that hindered her from getting to the picture. "You will be stifled!" cried Augustine. "Let us go." "That is what comes of sight-seeing," exclaimed Monsieur Guillaume--"a headache. And is it so very amusing to see in a picture what you can see any day in your own street? Don't talk to me of your artists! Like writers, they are a starveling crew. Why the devil need they choose my house to flout it in their pictures?" "It may help to sell a few ells more of cloth," said Joseph Lebas. This remark did not protect art and thought from being condemned once again before the judgment-seat of trade. As may be supposed, these speeches did not infuse much hope into Augustine, who, during the night, gave herself up to the first meditations of love. The events of the day were like a dream, which it was a joy to | What ultimately kills Augustine? | A broken heart |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on which concern women--well enough to have amused myself by seeking the clue to the riddle. Well, my sweet child, those worthy women had the gift of analyzing their husbands' nature; instead of taking fright, like you, at their superiority, they very acutely noted the qualities they lacked, and either by possessing those qualities, or by feigning to possess them, they found means of making such a handsome display of them in their husbands' eyes that in the end they impressed them. Also, I must tell you, all these souls which appear so lofty have just a speck of madness in them, which we ought to know how to take advantage of. By firmly resolving to have the upper hand and never deviating from that aim, by bringing all our actions to bear on it, all our ideas, our cajolery, we subjugate these eminently capricious natures, which, by the very mutability of their thoughts, lend us the means of influencing them." "Good heavens!" cried the young wife in dismay. "And this is life. It is a warfare----" "In which we must always threaten," said the Duchess, laughing. "Our power is wholly factitious. And we must never allow a man to despise us; it is impossible to recover from such a descent but by odious manoeuvring. Come," she added, "I will give you a means of bringing your husband to his senses." She rose with a smile to guide the young and guileless apprentice to conjugal arts through the labyrinth of her palace. They came to a back-staircase, which led up to the reception rooms. As Madame de Carigliano pressed the secret springlock of the door she stopped, looking at Augustine with an inimitable gleam of shrewdness and grace. "The Duc de Carigliano adores me," said she. "Well, he dare not enter little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the | What does Theodore do when he finds that the Duchesse de Carigliano returned his wife's portrait to her? | He becomes enraged and destroys it |
the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the set of rascals; I know them well! They all have a gab and nice manners. Ah, your Monsieur Sumer--, Somm----" "De Sommervieux, papa." "Well, well, de Sommervieux, well and good. He can never have been half so sweet to you as Monsieur le Chevalier de Saint-Georges was to me the day I got a verdict of the consuls against him. And in those days they were gentlemen of quality." "But, father, Monsieur Theodore is of good family, and he wrote me that he is rich; his father was called Chevalier de Sommervieux before the Revolution." At these words Monsieur Guillaume looked at his terrible better half, who, like an angry woman, sat tapping the floor with her foot while keeping sullen silence; she avoided even casting wrathful looks at Augustine, appearing to leave to Monsieur Guillaume the whole responsibility in so grave a matter, since her opinion was not listened to. Nevertheless, in spite of her apparent self-control, when she saw her husband giving way so mildly under a catastrophe which had no concern with business, she exclaimed: "Really, monsieur, you are so weak with your daughters! However----" The sound of a carriage, which stopped at the door, interrupted the rating which the old draper already quaked at. In a minute Madame Roguin was standing in the middle of the room, and looking at the actors in this domestic scene: "I know all, my dear cousin," said she, with a patronizing air. Madame Roguin made the great mistake of supposing that a Paris notary's wife could play the part of a favorite of fashion. "I know all," she repeated, "and I have come into Noah's Ark, like the dove, with the olive-branch. I read that allegory in the _Genie du Christianisme_," she added, turning to Madame Guillaume; "the allusion ought | What is Theodore known for? | He is an artist and a knight. |
the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | Who encourages Theodore and Augustine to become lovers? | Madame Roguin. |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | How would you describe Theodore and Augustine's marraige? | Unhappy. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux | Why does Augustine believe that her relationship is strained? | She does not understand her husband's art. |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully | Who does Theodore fall for after becoming unhappy with his wife? | Madame de Carigliano |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully which concern women--well enough to have amused myself by seeking the clue to the riddle. Well, my sweet child, those worthy women had the gift of analyzing their husbands' nature; instead of taking fright, like you, at their superiority, they very acutely noted the qualities they lacked, and either by possessing those qualities, or by feigning to possess them, they found means of making such a handsome display of them in their husbands' eyes that in the end they impressed them. Also, I must tell you, all these souls which appear so lofty have just a speck of madness in them, which we ought to know how to take advantage of. By firmly resolving to have the upper hand and never deviating from that aim, by bringing all our actions to bear on it, all our ideas, our cajolery, we subjugate these eminently capricious natures, which, by the very mutability of their thoughts, lend us the means of influencing them." "Good heavens!" cried the young wife in dismay. "And this is life. It is a warfare----" "In which we must always threaten," said the Duchess, laughing. "Our power is wholly factitious. And we must never allow a man to despise us; it is impossible to recover from such a descent but by odious manoeuvring. Come," she added, "I will give you a means of bringing your husband to his senses." She rose with a smile to guide the young and guileless apprentice to conjugal arts through the labyrinth of her palace. They came to a back-staircase, which led up to the reception rooms. As Madame de Carigliano pressed the secret springlock of the door she stopped, looking at Augustine with an inimitable gleam of shrewdness and grace. "The Duc de Carigliano adores me," said she. "Well, he dare not enter | What does Theodore give Madame de Carigliano as a present? | The famous portrait of Augustine. |
an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on | What does Madame de Carigliano believe about marriage that shocks Theodore? | She views marriage as a form of warfare. |
the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully which concern women--well enough to have amused myself by seeking the clue to the riddle. Well, my sweet child, those worthy women had the gift of analyzing their husbands' nature; instead of taking fright, like you, at their superiority, they very acutely noted the qualities they lacked, and either by possessing those qualities, or by feigning to possess them, they found means of making such a handsome display of them in their husbands' eyes that in the end they impressed them. Also, I must tell you, all these souls which appear so lofty have just a speck of madness in them, which we ought to know how to take advantage of. By firmly resolving to have the upper hand and never deviating from that aim, by bringing all our actions to bear on it, all our ideas, our cajolery, we subjugate these eminently capricious natures, which, by the very mutability of their thoughts, lend us the means of influencing them." "Good heavens!" cried the young wife in dismay. "And this is life. It is a warfare----" "In which we must always threaten," said the Duchess, laughing. "Our power is wholly factitious. And we must never allow a man to despise us; it is impossible to recover from such a descent but by odious manoeuvring. Come," she added, "I will give you a means of bringing your husband to his senses." She rose with a smile to guide the young and guileless apprentice to conjugal arts through the labyrinth of her palace. They came to a back-staircase, which led up to the reception rooms. As Madame de Carigliano pressed the secret springlock of the door she stopped, looking at Augustine with an inimitable gleam of shrewdness and grace. "The Duc de Carigliano adores me," said she. "Well, he dare not enter at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent adjoining boudoir, were heard by Augustine, and her heart beat violently. "The lady is in there," replied the maid. "You are an idiot! Show her in," replied the Duchess, whose voice was sweeter, and had assumed the dulcet tones of politeness. She evidently now meant to be heard. Augustine shyly entered the room. At the end of the dainty boudoir she saw the Duchess lounging luxuriously on an ottoman covered with brown velvet and placed in the centre of a sort of apse outlined by soft folds of white muslin over a yellow lining. Ornaments of gilt bronze, arranged with exquisite taste, enhanced this sort of dais, under which the Duchess reclined like a Greek statue. The dark hue of the velvet gave relief to every fascinating charm. A subdued light, friendly to her beauty, fell like a reflection rather than a direct illumination. A few rare flowers raised their perfumed heads from costly Sevres vases. At the moment when this picture was presented to Augustine's astonished eyes, she was approaching so noiselessly that she caught a glance from those of the enchantress. This look seemed to say to some one whom Augustine did not at first perceive, "Stay; you will see a pretty woman, and make her visit seem less of a bore." On seeing Augustine, the Duchess rose and made her sit down by her. "And to what do I owe the pleasure of this visit, madame?" she said with a most gracious smile. "Why all the falseness?" thought Augustine, replying only with a bow. Her silence was compulsory. The young woman saw before her a superfluous witness of the scene. This personage was, of all the Colonels in the army, the youngest, the most fashionable, and the finest man. His face, full of life and youth, but | What advice does Madame de Carigliano give Augustine? | To not try and make her husband love her rather use her looks to keep him interested. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent of legal proceedings. Augustine thanked them, and returned home even more undecided than she had been before consulting them. She now ventured to go to the house in the Rue du Colombier, intending to confide her troubles to her father and mother; for she was like a sick man who, in his desperate plight, tries every prescription, and even puts faith in old wives' remedies. "What, child, your husband shuts himself into a room with naked women! And you are so simple as to believe that he draws them?" As she uttered this exclamation, the grandmother laid her spectacles on a little work-table, shook her skirts, and clasped her hands on her knees, raised by a foot-warmer, her favorite pedestal. "But, mother, all artists are obliged to have models." "He took good care not to tell us that when he asked leave to marry you. If I had known it, I would never had given my daughter to a man who followed such a trade. Religion forbids such horrors; they are immoral. And at what time of night do you say he comes home?" "At one o'clock--two----" The old folks looked at each other in utter amazement. "Then he gambles?" said Monsieur Guillaume. "In my day only gamblers stayed out so late." Augustine made a face that scorned the accusation. "He must keep you up through dreadful nights waiting for him," said Madame Guillaume. "But you go to bed, don't you? And when he has lost, the wretch wakes you." "No, mamma, on the contrary, he is sometimes in very good spirits. Not unfrequently, indeed, when it is fine, he suggests that I should get up and go into the woods." "The woods! At that hour? Then have you such a small set of rooms that his bedroom and his | How does Augustine try to win her husband back? | She hangs her famous portrait in their room and wears an identical outfit that she wore in the painting. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux permission to release the young girl for two hours from her dull labors. Augustine was thus able to make her way through the crowd to see the crowned work. A fit of trembling shook her like an aspen leaf as she recognized herself. She was terrified, and looked about her to find Madame Roguin, from whom she had been separated by a tide of people. At that moment her frightened eyes fell on the impassioned face of the young painter. She at once recalled the figure of a loiterer whom, being curious, she had frequently observed, believing him to be a new neighbor. "You see how love has inspired me," said the artist in the timid creature's ear, and she stood in dismay at the words. She found supernatural courage to enable her to push through the crowd and join her cousin, who was still struggling with the mass of people that hindered her from getting to the picture. "You will be stifled!" cried Augustine. "Let us go." "That is what comes of sight-seeing," exclaimed Monsieur Guillaume--"a headache. And is it so very amusing to see in a picture what you can see any day in your own street? Don't talk to me of your artists! Like writers, they are a starveling crew. Why the devil need they choose my house to flout it in their pictures?" "It may help to sell a few ells more of cloth," said Joseph Lebas. This remark did not protect art and thought from being condemned once again before the judgment-seat of trade. As may be supposed, these speeches did not infuse much hope into Augustine, who, during the night, gave herself up to the first meditations of love. The events of the day were like a dream, which it was a joy to | How does Augustine die? | A broken heart. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully of genius." "Very well, then let men of genius stop at home and not get married. What! A man of genius is to make his wife miserable? And because he is a genius it is all right! Genius, genius! It is not so very clever to say black one minute and white the next, as he does, to interrupt other people, to dance such rigs at home, never to let you know which foot you are to stand on, to compel his wife never to be amused unless my lord is in gay spirits, and to be dull when he is dull." "But, mother, the very nature of such imaginations----" "What are such 'imaginations'?" Madame Guillaume went on, interrupting her daughter again. "Fine ones his are, my word! What possesses a man that all on a sudden, without consulting a doctor, he takes it into his head to eat nothing but vegetables? If indeed it were from religious motives, it might do him some good--but he has no more religion than a Huguenot. Was there ever a man known who, like him, loved horses better than his fellow-creatures, had his hair curled like a heathen, laid statues under muslin coverlets, shut his shutters in broad day to work by lamp-light? There, get along; if he were not so grossly immoral, he would be fit to shut up in a lunatic asylum. Consult Monsieur Loraux, the priest at Saint Sulpice, ask his opinion about it all, and he will tell you that your husband, does not behave like a Christian." "Oh, mother, can you believe----?" "Yes, I do believe. You loved him, and you can see none of these things. But I can remember in the early days after your marriage. I met him in the Champs-Elysees. He was on horseback. hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too near the skies, to the region where storms gather and the sun is scorching." The following personages appear in other stories of the Human Comedy. Aiglemont, General, Marquis Victor d' The Firm of Nucingen A Woman of Thirty Birotteau, Cesar Cesar Birotteau A Bachelor's Establishment Camusot A Distinguished Provincial at Paris A Bachelor's Establishment Cousin Pons The Muse of the Department Cesar Birotteau Cardot, Jean-Jerome-Severin A Start in Life Lost Illusions A Distinguished Provincial at Paris A Bachelor's Establishment Cesar Birotteau Carigliano, Marechal, Duc de Father Goriot Sarrasine Carigliano, Duchesse de A Distinguished Provincial at Paris The Peasantry The Member for Arcis Lebas, Joseph Cesar Birotteau Cousin Betty Lebas, Madame Joseph (Virginie) Cesar Birotteau Cousin Betty Rabourdin, Xavier The Government Clerks Cesar Birotteau The Middle Classes Roguin, Madame Cesar Birotteau Pierrette A Second Home A Daughter of Eve Sommervieux, Theodore de The Government Clerks Modeste Mignon Sommervieux, Madame Theodore de (Augustine) At the Sign of the Cat and Racket Cesar Birotteau | Who dies of a broken heart? | Augustine. |
the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the set of rascals; I know them well! They all have a gab and nice manners. Ah, your Monsieur Sumer--, Somm----" "De Sommervieux, papa." "Well, well, de Sommervieux, well and good. He can never have been half so sweet to you as Monsieur le Chevalier de Saint-Georges was to me the day I got a verdict of the consuls against him. And in those days they were gentlemen of quality." "But, father, Monsieur Theodore is of good family, and he wrote me that he is rich; his father was called Chevalier de Sommervieux before the Revolution." At these words Monsieur Guillaume looked at his terrible better half, who, like an angry woman, sat tapping the floor with her foot while keeping sullen silence; she avoided even casting wrathful looks at Augustine, appearing to leave to Monsieur Guillaume the whole responsibility in so grave a matter, since her opinion was not listened to. Nevertheless, in spite of her apparent self-control, when she saw her husband giving way so mildly under a catastrophe which had no concern with business, she exclaimed: "Really, monsieur, you are so weak with your daughters! However----" The sound of a carriage, which stopped at the door, interrupted the rating which the old draper already quaked at. In a minute Madame Roguin was standing in the middle of the room, and looking at the actors in this domestic scene: "I know all, my dear cousin," said she, with a patronizing air. Madame Roguin made the great mistake of supposing that a Paris notary's wife could play the part of a favorite of fashion. "I know all," she repeated, "and I have come into Noah's Ark, like the dove, with the olive-branch. I read that allegory in the _Genie du Christianisme_," she added, turning to Madame Guillaume; "the allusion ought | Who is Theodore de Summervieux? | An artist. |
little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning | Who does Theodore fall in love with? | Augustine Guillaume. |
of genius." "Very well, then let men of genius stop at home and not get married. What! A man of genius is to make his wife miserable? And because he is a genius it is all right! Genius, genius! It is not so very clever to say black one minute and white the next, as he does, to interrupt other people, to dance such rigs at home, never to let you know which foot you are to stand on, to compel his wife never to be amused unless my lord is in gay spirits, and to be dull when he is dull." "But, mother, the very nature of such imaginations----" "What are such 'imaginations'?" Madame Guillaume went on, interrupting her daughter again. "Fine ones his are, my word! What possesses a man that all on a sudden, without consulting a doctor, he takes it into his head to eat nothing but vegetables? If indeed it were from religious motives, it might do him some good--but he has no more religion than a Huguenot. Was there ever a man known who, like him, loved horses better than his fellow-creatures, had his hair curled like a heathen, laid statues under muslin coverlets, shut his shutters in broad day to work by lamp-light? There, get along; if he were not so grossly immoral, he would be fit to shut up in a lunatic asylum. Consult Monsieur Loraux, the priest at Saint Sulpice, ask his opinion about it all, and he will tell you that your husband, does not behave like a Christian." "Oh, mother, can you believe----?" "Yes, I do believe. You loved him, and you can see none of these things. But I can remember in the early days after your marriage. I met him in the Champs-Elysees. He was on horseback. amused himself by writing the date of its first appearance on the Gruyere cheese which was left to their tender mercies at breakfast, and which it was their pleasure to leave untouched. This bit of mischief, and a few others of the same stamp, would sometimes bring a smile on the face of the younger of Guillaume's daughters, the pretty maiden who has just now appeared to the bewitched man in the street. Though each of these apprentices, even the eldest, paid a round sum for his board, not one of them would have been bold enough to remain at the master's table when dessert was served. When Madame Guillaume talked of dressing the salad, the hapless youths trembled as they thought of the thrift with which her prudent hand dispensed the oil. They could never think of spending a night away from the house without having given, long before, a plausible reason for such an irregularity. Every Sunday, each in his turn, two of them accompanied the Guillaume family to Mass at Saint-Leu, and to vespers. Mesdemoiselles Virginie and Augustine, simply attired in cotton print, each took the arm of an apprentice and walked in front, under the piercing eye of their mother, who closed the little family procession with her husband, accustomed by her to carry two large prayer-books, bound in black morocco. The second apprentice received no salary. As for the eldest, whose twelve years of perseverance and discretion had initiated him into the secrets of the house, he was paid eight hundred francs a year as the reward of his labors. On certain family festivals he received as a gratuity some little gift, to which Madame Guillaume's dry and wrinkled hand alone gave value--netted purses, which she took care to stuff with cotton wool, to show cook with due knowledge. They knew nothing of the pleasures of the world; and, seeing how their parents spent their exemplary lives, they very rarely suffered their eyes to wander beyond the walls of their hereditary home, which to their mother was the whole universe. The meetings to which family anniversaries gave rise filled in the future of earthly joy to them. When the great drawing-room on the second floor was to be prepared to receive company--Madame Roguin, a Demoiselle Chevrel, fifteen months younger than her cousin, and bedecked with diamonds; young Rabourdin, employed in the Finance Office; Monsieur Cesar Birotteau, the rich perfumer, and his wife, known as Madame Cesar; Monsieur Camusot, the richest silk mercer in the Rue des Bourdonnais, with his father-in-law, Monsieur Cardot, two or three old bankers, and some immaculate ladies--the arrangements, made necessary by the way in which everything was packed away--the plate, the Dresden china, the candlesticks, and the glass--made a variety in the monotonous lives of the three women, who came and went and exerted themselves as nuns would to receive their bishop. Then, in the evening, when all three were tired out with having wiped, rubbed, unpacked, and arranged all the gauds of the festival, as the girls helped their mother to undress, Madame Guillaume would say to them, "Children, we have done nothing today." When, on very great occasions, "the portress nun" allowed dancing, restricting the games of boston, whist, and backgammon within the limits of her bedroom, such a concession was accounted as the most unhoped felicity, and made them happier than going to the great balls, to two or three of which Guillaume would take the girls at the time of the Carnival. And once a year the worthy draper gave an entertainment, when he spared no expense. a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too set of rascals; I know them well! They all have a gab and nice manners. Ah, your Monsieur Sumer--, Somm----" "De Sommervieux, papa." "Well, well, de Sommervieux, well and good. He can never have been half so sweet to you as Monsieur le Chevalier de Saint-Georges was to me the day I got a verdict of the consuls against him. And in those days they were gentlemen of quality." "But, father, Monsieur Theodore is of good family, and he wrote me that he is rich; his father was called Chevalier de Sommervieux before the Revolution." At these words Monsieur Guillaume looked at his terrible better half, who, like an angry woman, sat tapping the floor with her foot while keeping sullen silence; she avoided even casting wrathful looks at Augustine, appearing to leave to Monsieur Guillaume the whole responsibility in so grave a matter, since her opinion was not listened to. Nevertheless, in spite of her apparent self-control, when she saw her husband giving way so mildly under a catastrophe which had no concern with business, she exclaimed: "Really, monsieur, you are so weak with your daughters! However----" The sound of a carriage, which stopped at the door, interrupted the rating which the old draper already quaked at. In a minute Madame Roguin was standing in the middle of the room, and looking at the actors in this domestic scene: "I know all, my dear cousin," said she, with a patronizing air. Madame Roguin made the great mistake of supposing that a Paris notary's wife could play the part of a favorite of fashion. "I know all," she repeated, "and I have come into Noah's Ark, like the dove, with the olive-branch. I read that allegory in the _Genie du Christianisme_," she added, turning to Madame Guillaume; "the allusion ought | Who is Madame Rogiun? | Augustine's younger cousin. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | When did Augustine and Theodore get married? | 1808. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully the need for resuming his work and his old habits. His wife was expecting their first child. He saw some friends again. During the tedious discomforts of the year when a young wife is nursing an infant for the first time, he worked, no doubt, with zeal, but he occasionally sought diversion in the fashionable world. The house which he was best pleased to frequent was that of the Duchesse de Carigliano, who had at last attracted the celebrated artist to her parties. When Augustine was quite well again, and her boy no longer required the assiduous care which debars a mother from social pleasures, Theodore had come to the stage of wishing to know the joys of satisfied vanity to be found in society by a man who shows himself with a handsome woman, the object of envy and admiration. To figure in drawing-rooms with the reflected lustre of her husband's fame, and to find other women envious of her, was to Augustine a new harvest of pleasures; but it was the last gleam of conjugal happiness. She first wounded her husband's vanity when, in spite of vain efforts, she betrayed her ignorance, the inelegance of her language, and the narrowness of her ideas. Sommervieux's nature, subjugated for nearly two years and a half by the first transports of love, now, in the calm of less new possession, recovered its bent and habits, for a while diverted from their channel. Poetry, painting, and the subtle joys of imagination have inalienable rights over a lofty spirit. These cravings of a powerful soul had not been starved in Theodore during these two years; they had only found fresh pasture. As soon as the meadows of love had been ransacked, and the artist had gathered roses and cornflowers as the children do, little friend, who certainly did not know that he was there, the lovers had seen each other for the fourth time only since their meeting at the Salon. The difficulties which the rule of the house placed in the way of the painter's ardent nature gave added violence to his passion for Augustine. How could he get near to a young girl seated in a counting-house between two such women as Mademoiselle Virginie and Madame Guillaume? How could he correspond with her when her mother never left her side? Ingenious, as lovers are, to imagine woes, Theodore saw a rival in one of the assistants, to whose interests he supposed the others to be devoted. If he should evade these sons of Argus, he would yet be wrecked under the stern eye of the old draper or of Madame Guillaume. The very vehemence of his passion hindered the young painter from hitting on the ingenious expedients which, in prisoners and in lovers, seem to be the last effort of intelligence spurred by a wild craving for liberty, or by the fire of love. Theodore wandered about the neighborhood with the restlessness of a madman, as though movement might inspire him with some device. After racking his imagination, it occurred to him to bribe the blowsy waiting-maid with gold. Thus a few notes were exchanged at long intervals during the fortnight following the ill-starred morning when Monsieur Guillaume and Theodore had so scrutinized one another. At the present moment the young couple had agreed to see each other at a certain hour of the day, and on Sunday, at Saint-Leu, during Mass and vespers. Augustine had sent her dear Theodore a list of the relations and friends of the family, to whom the young painter tried to get access, in the an undulating tide of rapture; she thought she could not do enough by abandoning herself to sanctioned and sacred married love; simple and artless, she had no coquetry, no reserves, none of the dominion which a worldly-minded girl acquires over her husband by ingenious caprice; she loved too well to calculate for the future, and never imagined that so exquisite a life could come to an end. Happy in being her husband's sole delight, she believed that her inextinguishable love would always be her greatest grace in his eyes, as her devotion and obedience would be a perennial charm. And, indeed, the ecstasy of love had made her so brilliantly lovely that her beauty filled her with pride, and gave her confidence that she could always reign over a man so easy to kindle as Monsieur de Sommervieux. Thus her position as a wife brought her no knowledge but the lessons of love. In the midst of her happiness, she was still the simple child who had lived in obscurity in the Rue Saint-Denis, and who never thought of acquiring the manners, the information, the tone of the world she had to live in. Her words being the words of love, she revealed in them, no doubt, a certain pliancy of mind and a certain refinement of speech; but she used the language common to all women when they find themselves plunged in passion, which seems to be their element. When, by chance, Augustine expressed an idea that did not harmonize with Theodore's, the young artist laughed, as we laugh at the first mistakes of a foreigner, though they end by annoying us if they are not corrected. In spite of all this love-making, by the end of this year, as delightful as it was swift, Sommervieux felt one morning hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more | Where did Augustine and Theodore get married? | The church of Saint-Leu |
hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on recall to her mind. She was initiated into the fears, the hopes, the remorse, all the ebb and flow of feeling which could not fail to toss a heart so simple and timid as hers. What a void she perceived in this gloomy house! What a treasure she found in her soul! To be the wife of a genius, to share his glory! What ravages must such a vision make in the heart of a girl brought up among such a family! What hopes must it raise in a young creature who, in the midst of sordid elements, had pined for a life of elegance! A sunbeam had fallen into the prison. Augustine was suddenly in love. So many of her feelings were soothed that she succumbed without reflection. At eighteen does not love hold a prism between the world and the eyes of a young girl? She was incapable of suspecting the hard facts which result from the union of a loving woman with a man of imagination, and she believed herself called to make him happy, not seeing any disparity between herself and him. To her the future would be as the present. When, next day, her father and mother returned from the Salon, their dejected faces proclaimed some disappointment. In the first place, the painter had removed the two pictures; and then Madame Guillaume had lost her cashmere shawl. But the news that the pictures had disappeared from the walls since her visit revealed to Augustine a delicacy of sentiment which a woman can always appreciate, even by instinct. On the morning when, on his way home from a ball, Theodore de Sommervieux--for this was the name which fame had stamped on Augustine's heart--had been squirted on by the apprentices while awaiting the appearance of his artless | Who was Augustine supposed to marry? | Joseph Lebas. |
of genius." "Very well, then let men of genius stop at home and not get married. What! A man of genius is to make his wife miserable? And because he is a genius it is all right! Genius, genius! It is not so very clever to say black one minute and white the next, as he does, to interrupt other people, to dance such rigs at home, never to let you know which foot you are to stand on, to compel his wife never to be amused unless my lord is in gay spirits, and to be dull when he is dull." "But, mother, the very nature of such imaginations----" "What are such 'imaginations'?" Madame Guillaume went on, interrupting her daughter again. "Fine ones his are, my word! What possesses a man that all on a sudden, without consulting a doctor, he takes it into his head to eat nothing but vegetables? If indeed it were from religious motives, it might do him some good--but he has no more religion than a Huguenot. Was there ever a man known who, like him, loved horses better than his fellow-creatures, had his hair curled like a heathen, laid statues under muslin coverlets, shut his shutters in broad day to work by lamp-light? There, get along; if he were not so grossly immoral, he would be fit to shut up in a lunatic asylum. Consult Monsieur Loraux, the priest at Saint Sulpice, ask his opinion about it all, and he will tell you that your husband, does not behave like a Christian." "Oh, mother, can you believe----?" "Yes, I do believe. You loved him, and you can see none of these things. But I can remember in the early days after your marriage. I met him in the Champs-Elysees. He was on horseback. hundred thousand crowns, which is your fortune, will not buy up Paris. It is all very well to look forward to a few hundred thousand francs to be yours some day; I shall keep you waiting for them as long as possible, by Gad! So I took your lover aside, and a man who managed the Lecocq bankruptcy had not much difficulty in persuading the artist to marry under a settlement of his wife's money on herself. I will keep an eye on the marriage contract to see that what he is to settle on you is safely tied up. So now, my child, I hope to be a grandfather, by Gad! I will begin at once to lay up for my grandchildren; but swear to me, here and now, never to sign any papers relating to money without my advice; and if I go soon to join old Father Chevrel, promise to consult young Lebas, your brother-in-law." "Yes, father, I swear it." At these words, spoken in a gentle voice, the old man kissed his daughter on both cheeks. That night the lovers slept as soundly as Monsieur and Madame Guillaume. Some few months after this memorable Sunday the high altar of Saint-Leu was the scene of two very different weddings. Augustine and Theodore appeared in all the radiance of happiness, their eyes beaming with love, dressed with elegance, while a fine carriage waited for them. Virginie, who had come in a good hired fly with the rest of the family, humbly followed her younger sister, dressed in the simplest fashion like a shadow necessary to the harmony of the picture. Monsieur Guillaume had exerted himself to the utmost in the church to get Virginie married before Augustine, but the priests, high and low, persisted in addressing the more elegant of the two brides. He heard some of his neighbors highly approving the good sense of Mademoiselle Virginie, who was making, as they said, the more substantial match, and remaining faithful to the neighborhood; while they fired a few taunts, prompted by envy of Augustine, who was marrying an artist and a man of rank; adding, with a sort of dismay, that if the Guillaumes were ambitious, there was an end to the business. An old fan-maker having remarked that such a prodigal would soon bring his wife to beggary, father Guillaume prided himself _in petto_ for his prudence in the matter of marriage settlements. In the evening, after a splendid ball, followed by one of those substantial suppers of which the memory is dying out in the present generation, Monsieur and Madame Guillaume remained in a fine house belonging to them in the Rue du Colombier, where the wedding had been held; Monsieur and Madame Lebas returned in their fly to the old home in the Rue Saint-Denis, to steer the good ship Cat and Racket. The artist, intoxicated with happiness, carried off his beloved Augustine, and eagerly lifting her out of their carriage when it reached the Rue des Trois-Freres, led her to an apartment embellished by all the arts. The fever of passion which possessed Theodore made a year fly over the young couple without a single cloud to dim the blue sky under which they lived. Life did not hang heavy on the lovers' hands. Theodore lavished on every day inexhaustible _fioriture_ of enjoyment, and he delighted to vary the transports of passion by the soft languor of those hours of repose when souls soar so high that they seem to have forgotten all bodily union. Augustine was too happy for reflection; she floated on himself, as he read the first decree by which Napoleon drew in advance on the conscript classes. From that day the old merchant, grieved at seeing his eldest daughter fade, remembered how he had married Mademoiselle Chevrel under much the same circumstances as those of Joseph Lebas and Virginie. A good bit of business, to marry off his daughter, and discharge a sacred debt by repaying to an orphan the benefit he had formerly received from his predecessor under similar conditions! Joseph Lebas, who was now three-and-thirty, was aware of the obstacle which a difference of fifteen years placed between Augustine and himself. Being also too clear-sighted not to understand Monsieur Guillaume's purpose, he knew his inexorable principles well enough to feel sure that the second would never marry before the elder. So the hapless assistant, whose heart was as warm as his legs were long and his chest deep, suffered in silence. This was the state of the affairs in the tiny republic which, in the heart of the Rue Saint-Denis, was not unlike a dependency of La Trappe. But to give a full account of events as well as of feelings, it is needful to go back to some months before the scene with which this story opens. At dusk one evening, a young man passing the darkened shop of the Cat and Racket, had paused for a moment to gaze at a picture which might have arrested every painter in the world. The shop was not yet lighted, and was as a dark cave beyond which the dining-room was visible. A hanging lamp shed the yellow light which lends such charm to pictures of the Dutch school. The white linen, the silver, the cut glass, were brilliant accessories, and made more picturesque by strong contrasts of light to please you, cousin. Do you know," she went on, smiling at Augustine, "that Monsieur de Sommervieux is a charming man? He gave me my portrait this morning, painted by a master's hand. It is worth at least six thousand francs." And at these words she patted Monsieur Guillaume on the arm. The old draper could not help making a grimace with his lips, which was peculiar to him. "I know Monsieur de Sommervieux very well," the Dove ran on. "He has come to my evenings this fortnight past, and made them delightful. He has told me all his woes, and commissioned me to plead for him. I know since this morning that he adores Augustine, and he shall have her. Ah, cousin, do not shake your head in refusal. He will be created Baron, I can tell you, and has just been made Chevalier of the Legion of Honor, by the Emperor himself, at the Salon. Roguin is now his lawyer, and knows all his affairs. Well! Monsieur de Sommervieux has twelve thousand francs a year in good landed estate. Do you know that the father-in-law of such a man may get a rise in life--be mayor of his _arrondissement_, for instance. Have we not seen Monsieur Dupont become a Count of the Empire, and a senator, all because he went as mayor to congratulate the Emperor on his entry into Vienna? Oh, this marriage must take place! For my part, I adore the dear young man. His behavior to Augustine is only met with in romances. Be easy, little one, you shall be happy, and every girl will wish she were in your place. Madame la Duchesse de Carigliano, who comes to my 'At Homes,' raves about Monsieur de Sommervieux. Some spiteful people say she only comes to | Who married Joseph Lebas? | Augustine's sister Virginie. |
returned home a prey to such agitation as it is difficult to describe. Her conversation with the Duchesse de Carigliano had roused in her mind a crowd of contradictory thoughts. Like the sheep in the fable, full of courage in the wolf's absence, she preached to herself, and laid down admirable plans of conduct; she devised a thousand coquettish stratagems; she even talked to her husband, finding, away from him, all the springs of true eloquence which never desert a woman; then, as she pictured to herself Theodore's clear and steadfast gaze, she began to quake. When she asked whether monsieur were at home her voice shook. On learning that he would not be in to dinner, she felt an unaccountable thrill of joy. Like a criminal who has appealed against sentence of death, a respite, however short, seemed to her a lifetime. She placed the portrait in her room, and waited for her husband in all the agonies of hope. That this venture must decide her future life, she felt too keenly not to shiver at every sound, even the low ticking of the clock, which seemed to aggravate her terrors by doling them out to her. She tried to cheat time by various devices. The idea struck her of dressing in a way which would make her exactly like the portrait. Then, knowing her husband's restless temper, she had her room lighted up with unusual brightness, feeling sure that when he came in curiosity would bring him there at once. Midnight had struck when, at the call of the groom, the street gate was opened, and the artist's carriage rumbled in over the stones of the silent courtyard. "What is the meaning of this illumination?" asked Theodore in glad tones, as he came into her room. Augustine skilfully a large gilt picture-frame. Augustine, almost senseless with grief, pointed to the wreck with a gesture of deep despair. "I don't know that the loss is very great!" cried the old mistress of the Cat and Racket. "It was like you, no doubt; but I am told that there is a man on the boulevard who paints lovely portraits for fifty crowns." "Oh, mother!" "Poor child, you are quite right," replied Madame Guillaume, who misinterpreted the expression of her daughter's glance at her. "True, my child, no one ever can love you as fondly as a mother. My darling, I guess it all; but confide your sorrows to me, and I will comfort you. Did I not tell you long ago that the man was mad! Your maid has told me pretty stories. Why, he must be a perfect monster!" Augustine laid a finger on her white lips, as if to implore a moment's silence. During this dreadful night misery had led her to that patient resignation which in mothers and loving wives transcends in its effects all human energy, and perhaps reveals in the heart of women the existence of certain chords which God has withheld from men. An inscription engraved on a broken column in the cemetery at Montmartre states that Madame de Sommervieux died at the age of twenty-seven. In the simple words of this epitaph one of the timid creature's friends can read the last scene of a tragedy. Every year, on the second of November, the solemn day of the dead, he never passes this youthful monument without wondering whether it does not need a stronger woman than Augustine to endure the violent embrace of genius? "The humble and modest flowers that bloom in the valley," he reflects, "perish perhaps when they are transplanted too at the tone of artists. At the first dinner Theodore gave, she heard a young painter say, with the childlike lightness, which to her was unintelligible, and which redeems a jest from the taint of profanity, "But, madame, your Paradise cannot be more beautiful than Raphael's Transfiguration!--Well, and I got tired of looking at that." Thus Augustine came among this sparkling set in a spirit of distrust which no one could fail to see. She was a restraint on their freedom. Now an artist who feels restraint is pitiless; he stays away, or laughs it to scorn. Madame Guillaume, among other absurdities, had an excessive notion of the dignity she considered the prerogative of a married woman; and Augustine, though she had often made fun of it, could not help a slight imitation of her mother's primness. This extreme propriety, which virtuous wives do not always avoid, suggested a few epigrams in the form of sketches, in which the harmless jest was in such good taste that Sommervieux could not take offence; and even if they had been more severe, these pleasantries were after all only reprisals from his friends. Still, nothing could seem a trifle to a spirit so open as Theodore's to impressions from without. A coldness insensibly crept over him, and inevitably spread. To attain conjugal happiness we must climb a hill whose summit is a narrow ridge, close to a steep and slippery descent: the painter's love was falling down it. He regarded his wife as incapable of appreciating the moral considerations which justified him in his own eyes for his singular behavior to her, and believed himself quite innocent in hiding from her thoughts she could not enter into, and peccadilloes outside the jurisdiction of a _bourgeois_ conscience. Augustine wrapped herself in sullen and silent by this door without my leave. And he is a man in the habit of commanding thousands of soldiers. He knows how to face a battery, but before me,--he is afraid!" Augustine sighed. They entered a sumptuous gallery, where the painter's wife was led by the Duchess up to the portrait painted by Theodore of Mademoiselle Guillaume. On seeing it, Augustine uttered a cry. "I knew it was no longer in my house," she said, "but--here!----" "My dear child, I asked for it merely to see what pitch of idiocy a man of genius may attain to. Sooner or later I should have returned it to you, for I never expected the pleasure of seeing the original here face to face with the copy. While we finish our conversation I will have it carried down to your carriage. And if, armed with such a talisman, you are not your husband's mistress for a hundred years, you are not a woman, and you deserve your fate." Augustine kissed the Duchess' hand, and the lady clasped her to her heart, with all the more tenderness because she would forget her by the morrow. This scene might perhaps have destroyed for ever the candor and purity of a less virtuous woman than Augustine, for the astute politics of the higher social spheres were no more consonant to Augustine than the narrow reasoning of Joseph Lebas, or Madame Guillaume's vapid morality. Strange are the results of the false positions into which we may be brought by the slightest mistake in the conduct of life! Augustine was like an Alpine cowherd surprised by an avalanche; if he hesitates, if he listens to the shouts of his comrades, he is almost certainly lost. In such a crisis the heart steels itself or breaks. Madame de Sommervieux recall to her mind. She was initiated into the fears, the hopes, the remorse, all the ebb and flow of feeling which could not fail to toss a heart so simple and timid as hers. What a void she perceived in this gloomy house! What a treasure she found in her soul! To be the wife of a genius, to share his glory! What ravages must such a vision make in the heart of a girl brought up among such a family! What hopes must it raise in a young creature who, in the midst of sordid elements, had pined for a life of elegance! A sunbeam had fallen into the prison. Augustine was suddenly in love. So many of her feelings were soothed that she succumbed without reflection. At eighteen does not love hold a prism between the world and the eyes of a young girl? She was incapable of suspecting the hard facts which result from the union of a loving woman with a man of imagination, and she believed herself called to make him happy, not seeing any disparity between herself and him. To her the future would be as the present. When, next day, her father and mother returned from the Salon, their dejected faces proclaimed some disappointment. In the first place, the painter had removed the two pictures; and then Madame Guillaume had lost her cashmere shawl. But the news that the pictures had disappeared from the walls since her visit revealed to Augustine a delicacy of sentiment which a woman can always appreciate, even by instinct. On the morning when, on his way home from a ball, Theodore de Sommervieux--for this was the name which fame had stamped on Augustine's heart--had been squirted on by the apprentices while awaiting the appearance of his artless | How old was Augustine when she died? | 27. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha | What is Billy's profession? | She's a makeup artist. |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | What physical disability does Billy have? | He is mute |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. Billy waves to Andy and enters her building. Karen looks at her sister and then turns toward Andy. Andy looks offended by Karen's words. Billy has stopped near her building door and is looking at Karen and Andy's verbal fight. One of the men is Mr. Larsen, a high-rank police officer, the other one is Mr Lovett, the US ambassador's secretary. The woman in white shows the two policemen to Larsen, then walks away. Larsen takes his hat off. Lovett shakes hands with the two policemen. After Larsen's answer, there is a slight embarrassed silence between the two men. Fortunately for them, a door opens and a man in white coat walks out of a room, carrying a film box under his arm. He talks to Larsen in Russian, and shows him the room where they have to go. Larsen shows the room to Lovett. The two policemen enters behind them. Larsen shows a seat to Lovett. The projection room looks like a small cinema theatre, with rows of red seats. Larsen turn toward the two policemen. He snaps his fingers. LARSEN (voice over from the loudspeaker) The victims are illegal immigrants exploited as prostitutes by a gang headed by one man. The technician is feeding the film into the projector. The sequence ends with a close shot on Larsen's worried face. Billy is getting ready to take a bath. She is just wearing a bath towel wrapped around her body. With her hand, she tests the temperature of the bath water. She pours some bubble-bath from a big bottle into the water. We hear the telephone ringing. Billy turns her head toward the living-room Billy walks from the bathroom along the corridor to the living- room. The telephone keeps on ringing. The telephone and the special answering machine are whining. The janitor enters the incinerator room. He walks slowly around until he reaches the incinerator. The incinerator door is slightly open. He looks inside. Close shot of the inside of the incinerator. Among the flames, a human skull is burning. The janitor walks backward with a terrified look on his face. He trips on something and falls down. Close shot on the fallen flashlight rolling around. In the light, we see a pair of boots, belonging to a still unknown man, standing on the floor. Still lying on the floor, the janitor discovers his dog lying next to him, and starts patting it. The dog's fur is covered with blood. Arkadi walks toward the janitor. Arkadi raises something we don't clearly see (a knife ?) above his head and hit the janitor, still lying on the floor. Larger shot of the steak being cut into the plate. We hear some soft music. Karen and Andy are seated, side by side, at a table in a restaurant, with Billy sitting on the other side of the table. Andy, with his shirt still covered with fake blood, is eating with an evident good appetite. Billy doesn't seem to be very hungry. Andy gives his plate to Billy. Billy explain silently that she is not hungry. Andy takes his plate back. Andy pours a lot of ketchup on his steak. Billy says something in sign language. Karen looks at her, while Andy drinks his wine. Billy keeps on «talking». Karen gives the salt to Andy. He starts eating his steak again. Andy puts his fork and knife down. Andy makes a sign. Billy smiles and nods her head «No». Billy looks at Andy and Karen with a worried face. Andy seems suddenly a bit worried too. Lyosha is smoking on the ramp | What city does Billy work in? | Moscow |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | Who is Billy's sisters boyfriend? | Andy |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | What is Billy's sister's same? | Karen |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties The man licks the paper of his cigarette. The woman still holds on the bookshelves. The man has put the cigarette in his mouth. A hand moves into the shot, holding a lit match to his cigarette. The woman falls on the floor, with the bookshelves falling on top of her. The two men, the one who stabbed the girl and Arkadi, the one who lit the other man's cigarette, they both look at the woman and laugh. The woman crawls out from underneath the bookshelves. She stands up, holding on the table. Back to the two men. A hand comes into the shot, holding a metal flask to Arkadi. He doesn't take it and the camera moves on the right to a third man sitting near the two other ones. He drinks from the flask. The camera moves to the right of the shot, and the title of the film appears in white letters on a dark screen. The camera keeps on moving from one face to another, apparently the faces of the members of the film crew. And on those faces, we see : In the background, we hear the noises of the girl who keeps on falling down and breaking the furniture. Close up on a dial. A needle is moving on the dial, on which, besides numbers, is written «Groove Depth» and «Batteries». The woman falls down. Since she was holding on the tablecloth, the tablecloth comes away with her, and everything that was on the table falls down on the floor. Arkadi and the «murderer» are laughing. Close shot on the face of the sound engineer, with the earphones on his ears. By now, we've started to understand that what we have seen up till now is not real, but is part of the shooting seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she | Who gets stabbed in the studio? | An actress |
Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi the handcuffs key. Then she slams the door. Larsen moves his hand nervously, but, of course, can't get it out of the handcuff. The man, who was hiding between the two buildings, comes out of his hiding nook and runs toward Larsen's car. Larsen stops and starts driving backward again. Close up on Larsen's feet. He steps on the brake. The big black car, which was following Larsen, starts and turns around. Billy looks at him, and hesitates on her next move. But she decides to climb in Larsen's car. Billy nods her head «No». Larsen gives her the notepad. Billy looks at the following car. Billy starts writing. Then she shows the note pad to Larsen, who reads it. WARTSCHUK (voice over from the talkie) Delta three. The policeman answers «Da», then listen to Wartschuk speaking in Russian. He says «Da» again and a few more words. Karen and Andy look at him, with a worried look on their face. Wartschuk answers him. Apparently, Andy understood a few words, because he says : The policeman drops the talkie on the table and talks to his colleague. The other policeman walks near Andy and Karen, raising his gun. The first policeman takes Andy's hands and cuffs them behind his back. Karen turns her head and looks at the dead Lyosha. The policemen don't seem to take any notice of what Andy is saying. One is still cuffing his hands while the other one is holding his gun. The policeman raises Andy to his feet and moves him away from Karen. The policeman has seated Andy on an armchair. He bends him down and puts the barrel of his gun on Andy's neck. The policeman clicks his gun in a «ready to shoot» position. Karen grabs the carpet with both hands leading to the basement, and he, like the chimney, exhales a lot of smoke, but white one ! The door of the basement opens and Arkadi walks out. There seems to be a lot of smoke in the basement too. He coughs. Lyosha throws him a pack of cigarettes, which he catches. He spits, takes a cigarette out of the pack and lights it. Two cars are coming toward them. The fist one is a large black limousine. Lyosha picks up a small plastic bag. The cars stop near the ramp. Arkadi and Lyosha walk toward them. A man gets out of the front passenger door of the second car. He is Wartschuk, the Big Boss' first assistant. He closes the door and walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag. The man says a few words in Russian and nods toward the limousine. He walks away, but Lyosha doesn't move. A man is sitting in the back of the limousine, his face hidden in the dark. He is called «The Reaper» and he is the famous «Big Boss» of the whole criminal organization, and consequently of Arkadi and Lyosha. Lyosha starts walking slowly toward the car. THE REAPER (voice over) Did it go smoothly ? The Reaper bends slightly, so his face appears in the light. The Reaper winds his car window up. Then he sits back in his seat. Lyosha and Arkadi look at the two cars driving away. Lyosha gives a folded paper to Arkadi, who unfolds it. Close up shot on the paper. It shows Billy's address and telephone number. Andy has remained in the car. Billy answers her sister in sign language. Andy has got out of the car and is watching the two sister, leaning on the roof of the car. and pulls it violently. The small telephone table falls on the floor, but also the policeman who was ready to kill Andy. In his fall, he pulls the trigger of his gun, which shoot a bullet at the other policeman, who falls dead on the floor. Andy tries to get off the armchair, but just falls down with it. Karen picks up the telephone handset, with its cut cord hanging from it. She rushes to the first policeman, and starts hitting him on the head with the handset. Andy stands up. ANDY (voice over) Find the key ! The man swears in Russian and puts his night robe on. ANDY (voice over) He's not gonna move, is he ? Okay, okay. Close shot on the talkie lying on the floor. WARTSCHUK (voice over from the talkie) Delta three. Delta three. Andy and Karen look at the talkie. Karen picks up the talkie and gives it to Andy. ANDY (with an exaggerated deep voice) Da. Of course, he gets an answer in Russian. He gets another Russian answer, but the word «studio» is clearly understandable. Karen takes the talkie out of his hands and throws it. The policeman, who had been knocked out by Karen, is slowly waking up. Karen sees him and yells. Karen picks up a gun and points it at the policeman. Andy grabs a wooden armchair and crashes it on the policeman's back. The armchairs breaks apart. The policeman falls down, unconscious. The door opens and the next floor neighbor walks in. He yells something in Russian. Karen turns toward him, with the gun still pointed in front of her. The man look at the mess, the dead bodies... and the gun. He raises his arms above his head. Andy throws away the pieces of armchair he | What is the name of the undercover detective? | Larsen |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. leading to the basement, and he, like the chimney, exhales a lot of smoke, but white one ! The door of the basement opens and Arkadi walks out. There seems to be a lot of smoke in the basement too. He coughs. Lyosha throws him a pack of cigarettes, which he catches. He spits, takes a cigarette out of the pack and lights it. Two cars are coming toward them. The fist one is a large black limousine. Lyosha picks up a small plastic bag. The cars stop near the ramp. Arkadi and Lyosha walk toward them. A man gets out of the front passenger door of the second car. He is Wartschuk, the Big Boss' first assistant. He closes the door and walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag. The man says a few words in Russian and nods toward the limousine. He walks away, but Lyosha doesn't move. A man is sitting in the back of the limousine, his face hidden in the dark. He is called «The Reaper» and he is the famous «Big Boss» of the whole criminal organization, and consequently of Arkadi and Lyosha. Lyosha starts walking slowly toward the car. THE REAPER (voice over) Did it go smoothly ? The Reaper bends slightly, so his face appears in the light. The Reaper winds his car window up. Then he sits back in his seat. Lyosha and Arkadi look at the two cars driving away. Lyosha gives a folded paper to Arkadi, who unfolds it. Close up shot on the paper. It shows Billy's address and telephone number. Andy has remained in the car. Billy answers her sister in sign language. Andy has got out of the car and is watching the two sister, leaning on the roof of the car. | What is the alias of the shadowy criminal mastermind? | The Reaper |
But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi | What are the criminals trying to retrieve from Billy? | A computer disk |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! camera with an operator behind it. On a bed, two actors are having sex. The female, a blonde woman, is naked, the male has his pants down to his ankles and is wearing a T-shirt and a white mask. Billy looks slightly embarrassed by what she sees. Close shot on the face of the camera operator, looking into the viewfinder of his camera. He is Lyosha, the young man who was courting Billy. The blonde naked woman is moaning. She is a slightly plump woman with hair too blonde to be true. She could be in her forties. Billy, still looking slightly embarrassed, is also smiling. The woman is faking a very strong orgasm. LYOSHA (voice over) Stop ! Stop ! Stop ! The woman instantly stops faking her orgasm and gets up from the bed. Lyosha talks in Russian to the woman, who is still lying on the bed. Her «lover», lying on the woman, is answering Lyosha in Russian. Lyosha looks back into his viewfinder. We hear the woman, moaning again. Billy walks around the set. Close shot on the face of the «lover». He is wearing the mask Billy has been looking for. In the background behind the man, we see Billy, looking from behind an open window in the scenery. Lyosha looks up from his viewfinder, then back again into it. The woman's «lover» slaps her gently on the face, but keeps on having sex with her. The man slaps her again but much harder this time. She screams. Billy looks surprised by what she sees. The man holds the woman down on the bed with both hands. He slaps her very hard several times and then hits her with his fist. Billy closes her eyes, disgusted by what she sees. We hear the woman being Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of | What is the Reaper a financier of? | International snuff ring |
Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. the handcuffs key. Then she slams the door. Larsen moves his hand nervously, but, of course, can't get it out of the handcuff. The man, who was hiding between the two buildings, comes out of his hiding nook and runs toward Larsen's car. Larsen stops and starts driving backward again. Close up on Larsen's feet. He steps on the brake. The big black car, which was following Larsen, starts and turns around. Billy looks at him, and hesitates on her next move. But she decides to climb in Larsen's car. Billy nods her head «No». Larsen gives her the notepad. Billy looks at the following car. Billy starts writing. Then she shows the note pad to Larsen, who reads it. WARTSCHUK (voice over from the talkie) Delta three. The policeman answers «Da», then listen to Wartschuk speaking in Russian. He says «Da» again and a few more words. Karen and Andy look at him, with a worried look on their face. Wartschuk answers him. Apparently, Andy understood a few words, because he says : The policeman drops the talkie on the table and talks to his colleague. The other policeman walks near Andy and Karen, raising his gun. The first policeman takes Andy's hands and cuffs them behind his back. Karen turns her head and looks at the dead Lyosha. The policemen don't seem to take any notice of what Andy is saying. One is still cuffing his hands while the other one is holding his gun. The policeman raises Andy to his feet and moves him away from Karen. The policeman has seated Andy on an armchair. He bends him down and puts the barrel of his gun on Andy's neck. The policeman clicks his gun in a «ready to shoot» position. Karen grabs the carpet with both hands fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she camera with an operator behind it. On a bed, two actors are having sex. The female, a blonde woman, is naked, the male has his pants down to his ankles and is wearing a T-shirt and a white mask. Billy looks slightly embarrassed by what she sees. Close shot on the face of the camera operator, looking into the viewfinder of his camera. He is Lyosha, the young man who was courting Billy. The blonde naked woman is moaning. She is a slightly plump woman with hair too blonde to be true. She could be in her forties. Billy, still looking slightly embarrassed, is also smiling. The woman is faking a very strong orgasm. LYOSHA (voice over) Stop ! Stop ! Stop ! The woman instantly stops faking her orgasm and gets up from the bed. Lyosha talks in Russian to the woman, who is still lying on the bed. Her «lover», lying on the woman, is answering Lyosha in Russian. Lyosha looks back into his viewfinder. We hear the woman, moaning again. Billy walks around the set. Close shot on the face of the «lover». He is wearing the mask Billy has been looking for. In the background behind the man, we see Billy, looking from behind an open window in the scenery. Lyosha looks up from his viewfinder, then back again into it. The woman's «lover» slaps her gently on the face, but keeps on having sex with her. The man slaps her again but much harder this time. She screams. Billy looks surprised by what she sees. The man holds the woman down on the bed with both hands. He slaps her very hard several times and then hits her with his fist. Billy closes her eyes, disgusted by what she sees. We hear the woman being and pulls it violently. The small telephone table falls on the floor, but also the policeman who was ready to kill Andy. In his fall, he pulls the trigger of his gun, which shoot a bullet at the other policeman, who falls dead on the floor. Andy tries to get off the armchair, but just falls down with it. Karen picks up the telephone handset, with its cut cord hanging from it. She rushes to the first policeman, and starts hitting him on the head with the handset. Andy stands up. ANDY (voice over) Find the key ! The man swears in Russian and puts his night robe on. ANDY (voice over) He's not gonna move, is he ? Okay, okay. Close shot on the talkie lying on the floor. WARTSCHUK (voice over from the talkie) Delta three. Delta three. Andy and Karen look at the talkie. Karen picks up the talkie and gives it to Andy. ANDY (with an exaggerated deep voice) Da. Of course, he gets an answer in Russian. He gets another Russian answer, but the word «studio» is clearly understandable. Karen takes the talkie out of his hands and throws it. The policeman, who had been knocked out by Karen, is slowly waking up. Karen sees him and yells. Karen picks up a gun and points it at the policeman. Andy grabs a wooden armchair and crashes it on the policeman's back. The armchairs breaks apart. The policeman falls down, unconscious. The door opens and the next floor neighbor walks in. He yells something in Russian. Karen turns toward him, with the gun still pointed in front of her. The man look at the mess, the dead bodies... and the gun. He raises his arms above his head. Andy throws away the pieces of armchair he | Who cannot speak? | Billy |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | What country is Billy working in at the beginning of the story? | Russia. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands Billy waves to Andy and enters her building. Karen looks at her sister and then turns toward Andy. Andy looks offended by Karen's words. Billy has stopped near her building door and is looking at Karen and Andy's verbal fight. One of the men is Mr. Larsen, a high-rank police officer, the other one is Mr Lovett, the US ambassador's secretary. The woman in white shows the two policemen to Larsen, then walks away. Larsen takes his hat off. Lovett shakes hands with the two policemen. After Larsen's answer, there is a slight embarrassed silence between the two men. Fortunately for them, a door opens and a man in white coat walks out of a room, carrying a film box under his arm. He talks to Larsen in Russian, and shows him the room where they have to go. Larsen shows the room to Lovett. The two policemen enters behind them. Larsen shows a seat to Lovett. The projection room looks like a small cinema theatre, with rows of red seats. Larsen turn toward the two policemen. He snaps his fingers. LARSEN (voice over from the loudspeaker) The victims are illegal immigrants exploited as prostitutes by a gang headed by one man. The technician is feeding the film into the projector. The sequence ends with a close shot on Larsen's worried face. Billy is getting ready to take a bath. She is just wearing a bath towel wrapped around her body. With her hand, she tests the temperature of the bath water. She pours some bubble-bath from a big bottle into the water. We hear the telephone ringing. Billy turns her head toward the living-room Billy walks from the bathroom along the corridor to the living- room. The telephone keeps on ringing. The telephone and the special answering machine are Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi | Who is the director that Billy is working for? | Her sister's boyfriend, Andy |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha | Who can Billy communicate with? | Her sister |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands | Where was Billy when she sees the murder? | In the studio |
But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha | What was the crew doing while Billy is locked in the Studio? | Shooting cheep porno |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi | What does the masked man do that cases Billy to react? | He stabs the woman. |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she the handcuffs key. Then she slams the door. Larsen moves his hand nervously, but, of course, can't get it out of the handcuff. The man, who was hiding between the two buildings, comes out of his hiding nook and runs toward Larsen's car. Larsen stops and starts driving backward again. Close up on Larsen's feet. He steps on the brake. The big black car, which was following Larsen, starts and turns around. Billy looks at him, and hesitates on her next move. But she decides to climb in Larsen's car. Billy nods her head «No». Larsen gives her the notepad. Billy looks at the following car. Billy starts writing. Then she shows the note pad to Larsen, who reads it. WARTSCHUK (voice over from the talkie) Delta three. The policeman answers «Da», then listen to Wartschuk speaking in Russian. He says «Da» again and a few more words. Karen and Andy look at him, with a worried look on their face. Wartschuk answers him. Apparently, Andy understood a few words, because he says : The policeman drops the talkie on the table and talks to his colleague. The other policeman walks near Andy and Karen, raising his gun. The first policeman takes Andy's hands and cuffs them behind his back. Karen turns her head and looks at the dead Lyosha. The policemen don't seem to take any notice of what Andy is saying. One is still cuffing his hands while the other one is holding his gun. The policeman raises Andy to his feet and moves him away from Karen. The policeman has seated Andy on an armchair. He bends him down and puts the barrel of his gun on Andy's neck. The policeman clicks his gun in a «ready to shoot» position. Karen grabs the carpet with both hands leading to the basement, and he, like the chimney, exhales a lot of smoke, but white one ! The door of the basement opens and Arkadi walks out. There seems to be a lot of smoke in the basement too. He coughs. Lyosha throws him a pack of cigarettes, which he catches. He spits, takes a cigarette out of the pack and lights it. Two cars are coming toward them. The fist one is a large black limousine. Lyosha picks up a small plastic bag. The cars stop near the ramp. Arkadi and Lyosha walk toward them. A man gets out of the front passenger door of the second car. He is Wartschuk, the Big Boss' first assistant. He closes the door and walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag. The man says a few words in Russian and nods toward the limousine. He walks away, but Lyosha doesn't move. A man is sitting in the back of the limousine, his face hidden in the dark. He is called «The Reaper» and he is the famous «Big Boss» of the whole criminal organization, and consequently of Arkadi and Lyosha. Lyosha starts walking slowly toward the car. THE REAPER (voice over) Did it go smoothly ? The Reaper bends slightly, so his face appears in the light. The Reaper winds his car window up. Then he sits back in his seat. Lyosha and Arkadi look at the two cars driving away. Lyosha gives a folded paper to Arkadi, who unfolds it. Close up shot on the paper. It shows Billy's address and telephone number. Andy has remained in the car. Billy answers her sister in sign language. Andy has got out of the car and is watching the two sister, leaning on the roof of the car. | What did the crew convince the police that the homoside was? | Special effects |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! Billy waves to Andy and enters her building. Karen looks at her sister and then turns toward Andy. Andy looks offended by Karen's words. Billy has stopped near her building door and is looking at Karen and Andy's verbal fight. One of the men is Mr. Larsen, a high-rank police officer, the other one is Mr Lovett, the US ambassador's secretary. The woman in white shows the two policemen to Larsen, then walks away. Larsen takes his hat off. Lovett shakes hands with the two policemen. After Larsen's answer, there is a slight embarrassed silence between the two men. Fortunately for them, a door opens and a man in white coat walks out of a room, carrying a film box under his arm. He talks to Larsen in Russian, and shows him the room where they have to go. Larsen shows the room to Lovett. The two policemen enters behind them. Larsen shows a seat to Lovett. The projection room looks like a small cinema theatre, with rows of red seats. Larsen turn toward the two policemen. He snaps his fingers. LARSEN (voice over from the loudspeaker) The victims are illegal immigrants exploited as prostitutes by a gang headed by one man. The technician is feeding the film into the projector. The sequence ends with a close shot on Larsen's worried face. Billy is getting ready to take a bath. She is just wearing a bath towel wrapped around her body. With her hand, she tests the temperature of the bath water. She pours some bubble-bath from a big bottle into the water. We hear the telephone ringing. Billy turns her head toward the living-room Billy walks from the bathroom along the corridor to the living- room. The telephone keeps on ringing. The telephone and the special answering machine are Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | What was the criminal mastermind called? | The Reaper |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi the handcuffs key. Then she slams the door. Larsen moves his hand nervously, but, of course, can't get it out of the handcuff. The man, who was hiding between the two buildings, comes out of his hiding nook and runs toward Larsen's car. Larsen stops and starts driving backward again. Close up on Larsen's feet. He steps on the brake. The big black car, which was following Larsen, starts and turns around. Billy looks at him, and hesitates on her next move. But she decides to climb in Larsen's car. Billy nods her head «No». Larsen gives her the notepad. Billy looks at the following car. Billy starts writing. Then she shows the note pad to Larsen, who reads it. WARTSCHUK (voice over from the talkie) Delta three. The policeman answers «Da», then listen to Wartschuk speaking in Russian. He says «Da» again and a few more words. Karen and Andy look at him, with a worried look on their face. Wartschuk answers him. Apparently, Andy understood a few words, because he says : The policeman drops the talkie on the table and talks to his colleague. The other policeman walks near Andy and Karen, raising his gun. The first policeman takes Andy's hands and cuffs them behind his back. Karen turns her head and looks at the dead Lyosha. The policemen don't seem to take any notice of what Andy is saying. One is still cuffing his hands while the other one is holding his gun. The policeman raises Andy to his feet and moves him away from Karen. The policeman has seated Andy on an armchair. He bends him down and puts the barrel of his gun on Andy's neck. The policeman clicks his gun in a «ready to shoot» position. Karen grabs the carpet with both hands | Who is the undercover detective tracking the Reaper? | Larson |
on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | What is Billy's physical disability? | She can't talk. |
bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi set on a small table. Billy picks up the telephone handset and puts it on the machine. Then she sits down on a chair and puts a pair of earphone on her ears. Finally, she presses a button on the machine. Close up shot on the screen of the machine. It looks a bit like a computer screen. The machine offers the choice between different sentences : «Hello» «Hello this is Billy Hughes speaking» «I am using a digital voice computer» «Please have patience and I will answer» «My address is apartment 923 - 126 Kievsky Prospekt» «My telephone number is 9205910» etc. Billy chooses the second choice, using a ball-mat. Then she brings the arrow on an icon to start the machine. Momentarily, the scene is seen through a binocular, which makes us realize that Billy is been spied by someone. Billy, apparently getting no answer but a deep breathing noise, chooses the first choice. Billy keeps on trying to get an answer. But she gets only a disconnection tone. She takes the earphone out of her ears, and puts them on the table. She looks at the window. Shot on the window, with a zoom on another window across the street. Behind that window, we see the figure of a man looking at Billy with binoculars. Billy seen through the «neighbor's» binoculars. She walks to the window and pull the drapes to hide the window. The «spy» sees the drapes being pulled through his binoculars. Lovett looks very disturbed by what Larsen just told him. The technician knocks on the window between his cabin and the room. Larsen and Lovett turn around, and Larsen makes a sign to tell the technician to start the film. Then he takes a cigarette from the pack he left on his former in the room, walking toward the elevator. Lyosha is coming closer, carrying a large plastic trash bag on his shoulder. When he reaches the elevator, he takes the bag down from his shoulder, and drops it in the gap between the bottom of the cabin and the floor of the room. The plastic bag drops down to the bottom of the shaft. Billy, lying on the roof of the cabin, is looking through the chicken wire. Arkadi is walking toward the elevator, carrying a bag on his shoulder, and pulling another one on the floor. Close shot on the key, which was not actually on the floor of the cabin, but on the floor of the room, just outside the cabin. The plastic bag, pushed by Arkadi under the cabin, pushes the key in the gap. Lyosha and Arkadi are standing just outside the cabin. Lyosha is pushing another bag in the gap. The two men then walk away from the cabin. Billy climbs down from the roof of he cabin and stands up on the cabin floor. Seeing Lyosha, she squats down, but Lyosha walks away. Billy climbs out of the cabin. Then she enters the gap and starts climbing down the shaft, using the emergency ladder. The bottom of the shaft is full of plastic bags and various debris. Billy reaches the bottom and steps on the bags. She kneels down and starts searching for her key. Suddenly, we hear a very loud noise. Billy, startled by the noise, stands up. Lyosha is looking through the gap at the bottom of the shaft. He turns around and talks in Russian to Arkadi. Billy is hiding among the plastic bags. Lyosha is still calling Arkadi. He talks to him in Russian. Arkadi comes near Lyosha with a powerful flashlight, | What is Billy doing in Moscow? | She's working on a flick. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi | Where did Billy get locked in at? | The studio. |
Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi CREDITS (First part) White letters on black screen. We hear the sound of a radio with a lot of statics. Apparently, someone is scanning the channels. After we've heard different channels, the scanning stops on a channel with jazz music. With a loud sound, the credits stop, the black screen moves away to the right and is replaced by : We still hear the sound of the radio. We are on a film set, even though we don't know it yet. The way it is filmed makes us believe we are in a real bedroom. A bedroom, seen through a window. Nice, clean, elegantly furnished and very well lit. Large bed. On the other side of the room from the window, a young woman is seated in front of desk facing the wall. The young woman stands up, with a paper document in her hand. She is wearing thick hoses, large slippers and a man's white shirt, which hangs down to the middle of her thighs. She walks out of the bedroom, to the next room. The window opens, and the camera, which acts as the eyes of the intruder, looks around the room. The camera moves to the next room : A dining-room with a large mantlepiece. In the center of the room, a round dining table with four chairs around it. The table is set, ready for dinner. The camera (and consequently the eyes of the intruder) keeps on looking around the room and then focus on the radio set sitting on a small table. Close shot on the radio. The volume of the radio goes up. The radio is suddenly switched off. The camera moves upward to show us the corridor and the open door of the bathroom in the corridor. THE YOUNG WOMAN (Voice over) Harry seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands The man licks the paper of his cigarette. The woman still holds on the bookshelves. The man has put the cigarette in his mouth. A hand moves into the shot, holding a lit match to his cigarette. The woman falls on the floor, with the bookshelves falling on top of her. The two men, the one who stabbed the girl and Arkadi, the one who lit the other man's cigarette, they both look at the woman and laugh. The woman crawls out from underneath the bookshelves. She stands up, holding on the table. Back to the two men. A hand comes into the shot, holding a metal flask to Arkadi. He doesn't take it and the camera moves on the right to a third man sitting near the two other ones. He drinks from the flask. The camera moves to the right of the shot, and the title of the film appears in white letters on a dark screen. The camera keeps on moving from one face to another, apparently the faces of the members of the film crew. And on those faces, we see : In the background, we hear the noises of the girl who keeps on falling down and breaking the furniture. Close up on a dial. A needle is moving on the dial, on which, besides numbers, is written «Groove Depth» and «Batteries». The woman falls down. Since she was holding on the tablecloth, the tablecloth comes away with her, and everything that was on the table falls down on the floor. Arkadi and the «murderer» are laughing. Close shot on the face of the sound engineer, with the earphones on his ears. By now, we've started to understand that what we have seen up till now is not real, but is part of the shooting | What kind of flick was the being made after hours? | A porno flick. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. fake blood, explode one by one, tearing the piece of clothing in front of them, and pouring the blood through the fabric. For the spectator, it does looks like bullet going through a body and blood spurting out. Karen rushes to Billy and hugs her. Larsen is slowly getting up. He shoots the gun to the ceiling. He shoots at Larsen, who doesn't react and walks closer to him. He shoots twice more, walking backward. He bumps into a prop and falls down on his back... next to Wartschuk, all tied up and with a large piece of tape across his mouth. Wartschuk moans, Andy screams and gets quickly up. He rushes out of the building while Larsen is trying to get over what just happened to him Larsen throws a remote control into Andy's hands. They all laugh. Larsen pats Andy's shoulder. Billy starts talking in sign language to Larsen. He turns toward Karen. Billy mouthes the word «Pleasure» and then makes the sign for it, which is rubbing you stomach. Larsen makes the same sign. Then he stops and seems to think about something. The sound of a shot, and a blood bag explodes under Billy's sweater. Karen screams. Since she was just in front of Billy, her face is covered with fake blood. Andy looks at them, the remote control in his hand. They all look at him. Larsen smiles. A little later. Andy drives his car near the entrance of the building. Billy walks toward the car, looking at Wartschuk, his mouth still gagged, being forced by Larsen to go inside his car. He moans incomprehensible words, and seems not to want to get inside the car. Andy waves to Larsen. Andy opens the back door of his own car to let Billy inside. But she the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi | Why was Billy not amused watching them make the porno flick anymore? | Because it became sadistic. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties door key drops on it, then moves away from it. Billy is trying to climb back up to the door. We see the elevator cabin at the bottom the shaft, and Billy in the foreground, trying to climb back up. There is some light in the cabin. We hear some strange noise in the shaft. Billy looks down at where the noise is coming from. Close shot on the key, seen through the chicken wire roof of the cabin, and resting on the floor of the cabin. Billy, still holding the cables, starts going slowly down. She misses a step but holds on the cables. She keeps on going down the shaft. She eventually reaches the roof of the cabin. We hear muffled voices talking in Russian. Billy sits down on the roof of the cabin to rest a little. Through the chicken wire that covers the roof of the cabin, she sees the key on the floor of the cabin. She tries to open a panel in the chicken wire. It is stuck but she eventually succeeds in opening it. She moves the panel on its hinges and rests it against the wall. We still hear the muffled voices talking in Russian. Billy starts climbing down in the opening in the chicken wire. Billy drops down on the floor of the cabin. The front door of the cabin is wide open showing the well lit store room in front of the cabin. But the cabin is not completely at the same level as the room : it is slightly higher. We hear banging noises in the background. Billy looks at the room and is suddenly frightened by something. She stands up and looks up at the roof of the cabin. She climbs back toward the roof. We see Lyosha bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. set on a small table. Billy picks up the telephone handset and puts it on the machine. Then she sits down on a chair and puts a pair of earphone on her ears. Finally, she presses a button on the machine. Close up shot on the screen of the machine. It looks a bit like a computer screen. The machine offers the choice between different sentences : «Hello» «Hello this is Billy Hughes speaking» «I am using a digital voice computer» «Please have patience and I will answer» «My address is apartment 923 - 126 Kievsky Prospekt» «My telephone number is 9205910» etc. Billy chooses the second choice, using a ball-mat. Then she brings the arrow on an icon to start the machine. Momentarily, the scene is seen through a binocular, which makes us realize that Billy is been spied by someone. Billy, apparently getting no answer but a deep breathing noise, chooses the first choice. Billy keeps on trying to get an answer. But she gets only a disconnection tone. She takes the earphone out of her ears, and puts them on the table. She looks at the window. Shot on the window, with a zoom on another window across the street. Behind that window, we see the figure of a man looking at Billy with binoculars. Billy seen through the «neighbor's» binoculars. She walks to the window and pull the drapes to hide the window. The «spy» sees the drapes being pulled through his binoculars. Lovett looks very disturbed by what Larsen just told him. The technician knocks on the window between his cabin and the room. Larsen and Lovett turn around, and Larsen makes a sign to tell the technician to start the film. Then he takes a cigarette from the pack he left on his former to work out the safety of his gun. He falls down, dropping all the bullets on the floor. Andy picks up his bullets, stands up and runs after Karen. We see only the shadow of The Reaper inside his car. We guess he is talking into a walkie-talkie. THE REAPER (voice over from the talkie) Larsen, are you reading me ? KAREN (whispering) Somebody's coming. ANDY (whispering) I'm waiting. Down below, on the set itself, Billy is walking, with Larsen behind her, pointing a gun in her back. LARSEN (answering The Reaper) I'm bringing her out now. On the gallery, Andy is still trying to work his gun. Andy shoots, misses Larsen, and hits a statue. Larsen and Billy try to hide from the shooter. Andy shoots again and misses again. Karen runs along the gallery, while Andy shoots and misses again. And once again. Then he realizes that the gun is empty and he drops it on the floor of the gallery. He runs after Karen. Down below, Larsen brings Billy near the big metal door opening on the outside. He unlocks the padlock that he had put earlier on the bolt of the door. Karen rushes toward them. KAREN (yelling) Billy ! Larsen pulls the bolt open. Billy is very surprised to see her sister. Larsen points his gun at her and yells something in Russian. Karen stops running, but Billy makes large signs to her, signs she doesn't seem to understand. Karen hides, and then comes out. Karen throws a piece of metal at Larsen. The piece of metal hits his hand and he drops his gun. KAREN (yelling) Run, Billy. Run ! Run ! Billy opens the big metal door. Andy runs in to join Karen. Larsen picks up his gun, and points it at Billy. | Why does Billy flee the studio? | Because the crew sees her. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands bends down and avoid the statuette, which crashes on the wall behind him. He takes his own knife out of his pocket, a switchblade knife. Billy pushes the chest of drawers toward Arkadi. It crashes on the floor, but Arkadi avoids it. Billy is still pointing her knife at Arkadi, when we hears some bumping noise. The woman is still in the bed, but the man is standing up on the floor, holding a broom with both hands, and hitting the ceiling with the handle of the broom. Both members of the couple swear in Russian. Close up of the piano keyboard, with the knife stuck between two keys. Billy rushes out of the room, closing the door behind her. Billy enters the bathroom, and locks the door behind her. She opens the door of the small cabinet above the sink, and takes everything out of it Billy, still looking in the cabinet, sees the handle spinning. She rushes to the door and spins the handle back into the lock position. A knife blade comes through the door a few inches from Billy's face. Billy goes back to the cabinet and starts searching it again. Eventually she seems to have found what she was looking for : a small disposable razor. The door is shaking under Arkadi's blows. Eventually his hand breaks through the door and tries to find the handle of the door. Billy picks up the toilet brush (the handle of which is a Donald Duck), and hits Arkadi's hand with it. But the door starts falling down under Arkadi's blows. Billy looks through the hole Arkadi has made in the door with his hand. Through the hole, we can see Arkadi going to the end of the corridor, and running back full speed to smash the door. | Who else besides her sister does Billy tell her story too? | The police. |
the handcuffs key. Then she slams the door. Larsen moves his hand nervously, but, of course, can't get it out of the handcuff. The man, who was hiding between the two buildings, comes out of his hiding nook and runs toward Larsen's car. Larsen stops and starts driving backward again. Close up on Larsen's feet. He steps on the brake. The big black car, which was following Larsen, starts and turns around. Billy looks at him, and hesitates on her next move. But she decides to climb in Larsen's car. Billy nods her head «No». Larsen gives her the notepad. Billy looks at the following car. Billy starts writing. Then she shows the note pad to Larsen, who reads it. WARTSCHUK (voice over from the talkie) Delta three. The policeman answers «Da», then listen to Wartschuk speaking in Russian. He says «Da» again and a few more words. Karen and Andy look at him, with a worried look on their face. Wartschuk answers him. Apparently, Andy understood a few words, because he says : The policeman drops the talkie on the table and talks to his colleague. The other policeman walks near Andy and Karen, raising his gun. The first policeman takes Andy's hands and cuffs them behind his back. Karen turns her head and looks at the dead Lyosha. The policemen don't seem to take any notice of what Andy is saying. One is still cuffing his hands while the other one is holding his gun. The policeman raises Andy to his feet and moves him away from Karen. The policeman has seated Andy on an armchair. He bends him down and puts the barrel of his gun on Andy's neck. The policeman clicks his gun in a «ready to shoot» position. Karen grabs the carpet with both hands the lower screws of the lock. They're vibrating under Arkadi's tool. Apparently, the telephone company found an English-speaking operator. Billy works frenetically on her answering machine. Close up on the screen. Billy is typing a message. But apparently, the operator doesn't speak such a good English The operator speaks in Russian, certainly to another operator. Billy types another message. Billy takes her earphones off and rushes to the light switch. She puts all the lights of the room at their maximum lighting capacity. Reverse angle shot on the window where the peeping-Tom was standing when he was watching Billy. There is light coming through the window and someone is moving in the room behind the curtains, but the peeping-Tom doesn't seem interested by Billy at the moment. Back to Billy's window. She unties her bathrobe and shows her breasts. The peeping-Tom is still moving in the room behind the curtains, but he doesn't come to the window. Close up on the lock. Another screw is vibrating and pops off. We see the drill bit coming through the hole it just made. Billy hears a male voice coming from her earphones. Billy picks up the earphones and put them on her ears. The door burst open and Arkadi walks into the room. Billy picks up her big kitchen knife and points it to Arkadi. Arkadi presses the light switch to dim the lights in the room. Close up shot on the earphones. Arkadi tears the telephone cord off the telephone handset. He tries to get near Billy, but she is still pointing her knife at him. He pulls the drapes back on the window. Walking backward, Billy has reached the wall, in which she bumps. She takes a white statuette on a chest of drawers and throws it at Arkadi. Arkadi Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. leading to the basement, and he, like the chimney, exhales a lot of smoke, but white one ! The door of the basement opens and Arkadi walks out. There seems to be a lot of smoke in the basement too. He coughs. Lyosha throws him a pack of cigarettes, which he catches. He spits, takes a cigarette out of the pack and lights it. Two cars are coming toward them. The fist one is a large black limousine. Lyosha picks up a small plastic bag. The cars stop near the ramp. Arkadi and Lyosha walk toward them. A man gets out of the front passenger door of the second car. He is Wartschuk, the Big Boss' first assistant. He closes the door and walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag. The man says a few words in Russian and nods toward the limousine. He walks away, but Lyosha doesn't move. A man is sitting in the back of the limousine, his face hidden in the dark. He is called «The Reaper» and he is the famous «Big Boss» of the whole criminal organization, and consequently of Arkadi and Lyosha. Lyosha starts walking slowly toward the car. THE REAPER (voice over) Did it go smoothly ? The Reaper bends slightly, so his face appears in the light. The Reaper winds his car window up. Then he sits back in his seat. Lyosha and Arkadi look at the two cars driving away. Lyosha gives a folded paper to Arkadi, who unfolds it. Close up shot on the paper. It shows Billy's address and telephone number. Andy has remained in the car. Billy answers her sister in sign language. Andy has got out of the car and is watching the two sister, leaning on the roof of the car. set on a small table. Billy picks up the telephone handset and puts it on the machine. Then she sits down on a chair and puts a pair of earphone on her ears. Finally, she presses a button on the machine. Close up shot on the screen of the machine. It looks a bit like a computer screen. The machine offers the choice between different sentences : «Hello» «Hello this is Billy Hughes speaking» «I am using a digital voice computer» «Please have patience and I will answer» «My address is apartment 923 - 126 Kievsky Prospekt» «My telephone number is 9205910» etc. Billy chooses the second choice, using a ball-mat. Then she brings the arrow on an icon to start the machine. Momentarily, the scene is seen through a binocular, which makes us realize that Billy is been spied by someone. Billy, apparently getting no answer but a deep breathing noise, chooses the first choice. Billy keeps on trying to get an answer. But she gets only a disconnection tone. She takes the earphone out of her ears, and puts them on the table. She looks at the window. Shot on the window, with a zoom on another window across the street. Behind that window, we see the figure of a man looking at Billy with binoculars. Billy seen through the «neighbor's» binoculars. She walks to the window and pull the drapes to hide the window. The «spy» sees the drapes being pulled through his binoculars. Lovett looks very disturbed by what Larsen just told him. The technician knocks on the window between his cabin and the room. Larsen and Lovett turn around, and Larsen makes a sign to tell the technician to start the film. Then he takes a cigarette from the pack he left on his former | Who is the undercover detective? | Larsen. |
At the last moment, when Arkadi is going to hit the door, Billy opens it. Arkadi can't stop himself, he crosses the bathroom and falls into the full bathtub. Billy hits him on the head with the Donald Duck toilet brush. Then Billy takes the hair-drier, switch it on, and throws it in the bathtub. Arkadi is instantly covered with blue sparks. Then he falls back into the bathtub where he remains motionless. Billy grabs a bunch of clothes and rushes out of the bathroom. Billy takes the pen and starts writing. Close up shot on the paper. Billy writes : «What diskette ?» Lyosha raises Billy's bathrobe above her waist, revealing Billy naked bottom underneath. Billy looks very frightened, afraid of what Lyosha can do to a defenseless naked girl. She takes the pen very firmly in her hand and brings it violently to Lyosha's leg. Close up shot of the pen hitting Lyosha's leg. Lyosha screams. He raises his knife to bring it down on Billy. Billy is waiting for the worse to happen. She hears the noise of something - or someone - falling violently on the floor. And suddenly, she realizes she is free. She raises from the table and sees Larsen holding Arkadi's big wire-cutter in his hands. He just hit Lyosha with it. Larsen throws the wire-cutter on the floor and bends on Billy. Larsen goes to the window and peeks through the drapes. Billy rushes to her clothes she had dropped on the floor when Lyosha grabbed her. She sits down on the floor and starts putting her socks on. He is still peeking through the drapes. He gathers the rest of Billy's clothes, takes her hand to makes her stand up, and drags her outside the apartment. Billy starts putting her panties Billy shows two finger to him. The janitor says something in Russian and walks away. The dining-room set. The young Russian actress is sitting on the floor among the debris she has created and she is putting lipstick on her lips, looking at her face in a small pocket mirror. Billy walks in with a small plastic case in her hands. She sits on the floor next to the actress and puts the box down beside her. She takes the lipstick and the mirror away from the actress' hands, and puts them down on the floor. Then she gives her a little piece of white cotton to wipe the lipstick out of her lips. The actress takes it and starts wiping her lips. Then Billy takes some make-up to put it on the actress' face. A male hand puts a light meter close to the actress' face. A strong light starts playing on Billy's face, and we hear a Russian voice who seems to come from a loudspeaker. The upper part of the film set. Three big spotlights on a rack. An electrician is playing with one of them. Billy puts her hand above her eyes to try to locate who is sending that strong light on her face. The electrician says a few words in Russian. The actress looks up to see who is talking. Closer shot on the electrician sitting on the spotlight rack. He is Arkadi, the man who was sitting next to the actor playing the murderer, and who offered him a light for his cigarette. He speaks in Russian with a queer smile on his face. Natasha squats down near Billy and the actress, to speak to Billy. Billy covers her eyes and looks up at the spotlight rack. Arkadi smiles and winks to Billy. on. He looks down at Billy, who is still putting her panties on. He takes the rest of Billy's clothes in his hands, and presses the button number «3». Larsen's car is parked just in front of the building. Larsen opens the passenger's door for Billy, who climbs inside the car. Then he walks around the car, open the driver's door and climbs inside. He starts the engine. A big black limousine, with two men inside, starts and follows Larsen's car, which has just started. The driver is Wartschuk, whom we have seen before with The Reaper, and who is The Reaper's first assistant. We see the headlights of the other car through the back window of the car. Billy resumes her dressing. When she puts her white sweater on, without a bra, her breasts are showing. Larsen gives a quick glance toward her, and then turns his head away. Billy looks back at him, smiles and kisses him on the cheek. Karen rushes through the room. Andy remains on the doorstep. Behind Andy, the front door is closing slowly, revealing Lyosha standing behind it. He has the big wire-cutter in his hand, and is ready to hit Andy with it. Andy looks at the cut cord, but doesn't realize the telephone can't work with a cut cord. She doesn't finish her sentence, because she has just seen Lyosha behind Andy. She grabs Andy and moves him out of the way of Lyosha's wire-cutter. The wire-cutter smashes what is left of the door of the corridor. Lyosha looks at the door, and doesn't even bother to smash it. He slowly walks back to the living room. We hear Karen and Andy's voices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! seat. The room becomes dark and the projection starts. The four men watch the film which has no sound. On the screen of the projection room, we see the sequence when the young actress, pretending she is dying very slowly, breaks the whole set. Lovett and Larsen turn their head toward the cabin. The two policemen are smiling because they find what they see on the screen quite funny. Lovett and Larsen do not smile, because they are disappointed. Now, on the screen, the actress is pulling the drapes down from the windows. ANDY (voice over) Yes, sir... No, sir. He puts the phone down back on its hook. Karen has a worried look on her face. Andy is smiling, but Karen still has a worried look on her face. One of the faucet is leaking and water is dropping from it. One of the glass panes is broken and fixed with adhesive tape and newspaper. He eyes closed, Billy has her daydreams flashbacks again. She sees the actress' blood spurting on the wall of the scenery. She sees her being stabbed. She sees herself running away from Lyosha in the long dark corridor. Suddenly, she feels drops of blood on her face. And, opening her eyes, she sees the bloody actress behind the broken glass pane. She quickly sits up in her bath. She looks at the window, which is empty. She hears the phone ringing. She stands up in her bath and takes her bath towel to dry herself. She puts the telephone handset on the answering machine. She puts her earphones on and select an answer. Close up shot on the machine screen. We can read what she is typing. The doorbell rings. Billy turns her head toward the door. She puts her earphones down, and stands But Billy is already out of the building. KAREN (yelling) Not out there ! Andy grabs Karen and pulls her out of Larsen's gun. The Reaper, still in his car, bends down to look at her. He takes his walkie-talkie. Larsen walks out of the building, and we hear the end on The Reaper's sentence coming from his own walkie-talkie. KAREN (yelling) No ! Through the window, we see Billy's body lying on the ground, with all the big black cars surrounding her. The Reaper smiles. The big metal door closes as Larsen goes back inside. All the men go back inside their cars. The engines start. And the cars start driving out, The Reaper's car being the first one to go. Billy is still lying motionless on the ground, her blood flowing slowly on the tarmac. KAREN (yelling) Explain ? She rushes out of Andy's arms and bumps violently into Larsen. They both fall on the floor, and Larsen's gun flies away from his hand. Karen hits Larsen very hard with both her fists. Andy picks up the gun and points it at Larsen. Larsen pushes Karen away from him. Karen takes the legs of a statue and hits Larsen with it. Then she grabs Larsen by the ears and throws him on the metal door. She turns toward Andy. Karen opens the door and walks out. <b>CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT </b> Billy, still lying on the ground, opens one eye and smiles. Karen runs out of the building and rushes toward her sister, who stands up when she sees her. Karen stops and looks at her. Karen sits up and raises her sweatshirt. Underneath, she is equipped with the special effect system she uses to pretend people are being shot. Little bags, full of | Who says that Billy must be killed? | The Reaper. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | Who turns Louis into a vampire? | Lestat |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | Where does Louis and Claudia find vampires like themselves? | Paris |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | When does Louis return to New Orleans? | After the death of Claudia. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | What does the boy who is interviewing Louis want? | The boy want Louis to give him immortality |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | What is the young girls name who lestat bites? | Claudia |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | Why did lestat bite claudia? | to turn her into a vampire daughter for himself and Louis |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | How does claudia plan on killing Lestat? | By poisoning him and cutting his throat |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | Where does Louis and Claudia dump Lestats body? | In a nearby swamp |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the porch to the parlor windows. The candle flickers inside. He sees - He turns and looks at Louis. Old, fearful, broken. Louis shakes his head. A series of police sirens go by, piercing the night sky. A helicopter goes overhead. Red flashes illuminate his face. Lestat shivers, covers his ears. He's terrified. Louis touches him, calming him, until the lights pass over. Louis shivers. He releases him. Louis walks slowly away from him. Lestat turns back to his candle, his magazine. A bluebottle buzzes by him. His hand shoots out and grabs it, squeezes the blood. Louis looks at the cassettes on the table. Louis is slowly horrified, then outraged and angry. He stares at Louis. Louis turns away. He looks at the boy. Then suddenly grabs him, lifts him off the floor, bares his terrifying fangs and brings them to his throat. Malloy screams, in involuntary terror. Malloy, now terrified, whispers Louis drops him. Malloy, falls on the floor, terrified. When he looks up, Louis has vanished. He looks up at the tape. It is still turning. He shakes his head. He gets up, and with shaking fingers gathers his tapes. He runs out of the room. Suddenly a bony hand shoots out from the back seat, pulls his neck backwards - The tape is playing. | After Louis is captured and locked in a coffin, who saves him? | Armand |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | Who abducted Louis, Claudia, and Madeliene? | Lestat. |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | How old was the vampire Louis at the beginning of the story? | 200 years old |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | When Louis and Claudia arrived in Europe what did they do? | Tried to seek out their own kind |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | Who released Louis from the coffin? | Armand |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | Who was Claudia convinced Louis would leave her for? | Armand |
he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | How were Madeleine and Claudia killed? | Burned to death by rising sun |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | Who were Madeleine, Claudia and Louis abducted by? | Theatre vampires |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | What was the Parisian doll maker turned into? | A vampire |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto mother. Madeleine sees Claudia from inside. She waves. He takes her arm. But Claudia shakes him off, and moves into the shop. Louis stops. Turns, sees nothing. Then walks again. The echoing steps begin again. Louis again. Sees a shadow, flitting. Nothing. He walks again, hears the same effect. Then he stops. He stares at a gaslamp opposite. Santiago, a tall vampire, materializes under the gaslight. And Louis gradually realizes that this vampire has assumed the same attitude, posture, clothes and hair-style as Louis. Louis gives an involuntary shake of the head. Santiago mimics. Louis takes a step forwards. Santiago mimics. Louis folds his arms. Santiago mimics. Santiago echoes the first word, but not the second. Louis has broken his composure. He turns his back on Santiago, only to come face to face with Santiago right in front of him. Again Louis turns this back to find Santiago facing him. Louis turns, glowers, refusing to look at him. Slowly he looks up. Santiago draws close, breaking the mirror trick and suddenly slams Louis back against the wall. Louis is furious. He regains his balance, strikes out at Santiago and when Santiago vanishes, to reappear behind him, Louis slams back his elbow into his midriff. Santiago staggers, amazed and then rushes at Louis, throwing him down. Louis rolls back to his feet, then to his amazement sees two vampires, on in front, on behind. He looks both ways, then sees one has vanished. He stares, awestruck, at this new one: He reaches into his waistcoat, takes an engraved invitation out of his pocket and thrusts it at Louis. Louis reads it aloud, as we see: Armand bows and vanishes. Louis listens to the silence. They draw close to: The posters are illustrated with cliched images of vampires overcoming damsels in distress. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and | In the end, who did the boy try to track down in hopes of making him a vampire? | Lestat |
Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | What did Lestat do to give Louis a reason to stay? | Turned the little girl into a daughter vampire for them. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | In what city was Louis' last encounter with Lestat? | New Orleans |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | How many structures did Louis burn? | Three. |
Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | What was Madeline's occupation? | She was a doll maker. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of | When did Louis return to America? | In the early 20th century. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of | What did Louis find repulsive about Lestat? | Lestat has no softness for the humans he targets with his attacks |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | What was the name of the theater were vampires performed? | The Theatre Des Vampires |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of | Who was locked in a coffin? | Louis. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto them. She lifts a fresh glass to Lestat's lips as he flirts with her. She kisses him. He lets his tongue play with hers, then runs it down her neck. She swoons with pleasure. Then he sinks his teeth gently in her neck, looking playfully behind at Louis, who if appalled and fascinated. Lestat slips the pale and dead Teresa into a chair beside him and folds her hands on the table. No one notices. He lays gold coins on the table and touches Louis' knee. Lestat rushes out, thrilled with himself. They walk down the crowded night street, full of ladies in their finery, freed slaves, whores, sailors etc. A youth of preternatural beauty, silhouetted against French windows. He is talking to an elegant widow, seated, holding two manicured poodles. Lestat stares at the youth with longing. He leads Louis closer to them. He smiles at the young man, who smiles in return. She leans towards him concquettishly. Louis, crazed with hunger, sees her as beautiful in the moonlight. He allows her lips reach his. He takes her in his arms, gently, romantically, and sinks in his teeth. She swoons. Louis draws his lips away. She is weak in his arms, but still alive. He can't do it. The poodles growl. He shoots out an arm and grabs one, then the other. Lestat comes from nowhere, claps a hand over her mouth and breaks her neck. He spits in fury at Louis. Louis hurls him against tree after tree with a strength he never knew he had. He drags him to the ground an throttles him. Lestat looks up at him, amazed and amused at the same time. Lestat squirms from his grip, seemingly effortlessly. He ruffles Louis' hair, with wry affection. He smiles. A sly, pleasurable secret secret | How old was Claudia when she became a vampire? | Five years old. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto Lestat's laughter echoes around him. Lestat laughs harder. Louis runs from him, screaming in anguish. Louis enters the mansion, following the harpsichord music, as if in a dream. Yvette draws back as he approaches. Louis approaches the coffin, hands trembling as he peers into it. Louis crawls into the coffin, fearful yet fascinated. Lestat smiles bitterly and nods. He closes the lid. Total darkness. Sounds of Louis' panicked breathing. Of his prayer again. Lestat, totting up figures on a piece of paper. Louis just stares at him. Lestat looks up at him and grins. Yvette enters, stands behind him, staring at Lestat with loathing. Lestat laughs loudly. Louis turns and looks at Yvette. Her beautiful forehead in the candlelight, the veins pulsing on her neck and her hands. Yvette returns his stare, troubled. Yvette reaches for his uneaten plate. Louis stops her hand. Holds it for a beat too long, looking at the veins in her wrist. She turns and runs from the table. Lestat leans towards him. His hand snakes out under the table. It comes up holding a large grey rat. He bares his fangs and slices the rat's throat. He pours the blood into a crystal glass. He hands the glass to Louis. Louis drinks the blood and stares at it in surprise, then at the dead rat on the fine lace tablecloth. Lestat strokes the belly of the dead rat, studying it sadly. He throws the rat away. He rises. Louis follows. Italian actors in buffoonish costumes act crude commedia dell'arte on the stage. Plantation owners in soiled brocade, lace, crooked wigs watch the show as tavern wenches move about. Louis and Lestat by a table, in the shadow of a tree. Teresa, a tavern wench, sits on Lestat's lap, pouring drinks for the two of | Why were the slaves massacred? | So that they could not reveal the truth about Louis and Lestat. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. he staggers into Armand's cell, and bars the door the connects it to the ballroom behind him. He staggers to the outer door. There is a thin strip of daylight, beneath the door, blinding him. He throws it open, and staggers into the daylight. The hearse vanishes through the smoke, leaving the spectacle of the burning theatre. He looks at Louis affectionately. Armand and Louis walk slowly through the Louvre together. Camera follows them for a while, then comes to rest on a sunrise by Turner. On the screen, Murnau's "Sunrise", in black and white. We see a montage of sunrises, from a whole range of movies, in black and white. The SUNRISES continue, in color now, and the backgrounds in them change to the fifties. The lights come up in a different theatre. Louis sitting there, alone, in a half empty theatre, dressed in the clothes of the fifties. He rises, exits with the others. CAMERA PANS OVER white-walled Lafayette cemetery and its surrounding mansions. Louis sees rats darting across the street. They rush into a great overgrown garden surrounding a ruined mansion. No lights. Louis stops at a rusted gate. He forces it open and enters - He looks up at the distant light. He passes a third corpse, caught in wisteria and rose vine, only bones and clothes. Louis sees dead rats lying near the steps. Louis treads carefully on the rotted steps. he moves along the porch. More dead rats. He sees through the floor-length window into rooms lined with stacked books. Virtually walled with them. Water seeps down from the ceiling, gleaming as it streaks over the books. The floors of the splendid rooms are bare, except for a rotten French chair by a dead fireplace. A single mirror reflecting the moon. He moves along Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto | Which city was Louis living near? | New Orleans. |
appears angelic in his radiance. Louis capitulates in one long sigh. Lestat comes closer, smiling. Lestat embraces Louis, obscuring his face. He drinks his blood. We hear two heartbeats, out of sync, coming together. We see Louis' face, growing paler, paler, as his blood is drained. His eyes stare upwards, losing their focus. Lestat lifts his hand to his lips and blows Louis a kiss. Lestat lifts his own right wrist to his teeth. Fangs slash his own flesh, blood falls. Louis rises to accept the first drops with his open mouth. Lestat gathers him up, as Louis clamps his hand on Lestat's arm and drinks from the wrist. Lestat watches him drink his wrist with wry amusement. Louis finishes, staggers away from him as if drunk. He turns and stares at Lestat whom he sees now with vampire's vision. Lestat's eyes are brighter, his buttons are glimmering in the light. Everything is clearer, brighter, containing more facets of light and color. Lestat leads him into the swamp. Everything astonished Louis, as if he's never seen it before. Louis is suddenly racked by shudders of pain. Lestat wipes Louis' brow. Lestat laughs and his laughter echoes like bells in Louis' ears. The slave walks towards them in the darkness. A crucifix gleams round his neck. The slave looks up and sees them. Two gleaming white beings standing before him with devil's eyes. The he runs. Louis can resist him no more. He swoops on him with a vampire's rapid movement, brings him to the ground and sinks his teeth in his neck. Close on Louis feeding on the slave, the magnificent body shuddering in its death-throes. Lestat stands above, laughing. The slave dies. Louis rises from him, drunkenly, engorged with blood. Louis looks down at the body of the slave. Louis pockets the fistfulls of coins he has won. Lestat floats down on top of him, then lifts him in the air, draws his head back by the hair and sinks his teeth in his neck. THE WIND billows through the ghostly white sails and rigging of the boats around the wharf. Louis can barely get the words out. Lestat smiles and lets him go. Louis falls and plummets into the water below. Candlelight flickers on the face of the bisque virgin. Louis tosses and turns, dreaming, murmuring incoherently. Then he opens his eyes. LESTAT, exquisitely dressed in French clothing, stands by the bed smiling. In the light of the candle we see that he is not human; skin too white; eyes too bright. Lestat looks amiable, even mischievous, but impossible - and angel or monster. Louis grabs his pistol from the table and cocks it. Louis takes aim. Lestat puts his hand over the barrel. Louis fires. The bullet tears a hole in Lestat's hand. Lestat is unfazed. He takes the gun from Louis' hand and throws it away. His hand begins to heal. Louis reaches for his sword, hanging by the bed, and point it. Lestat laughs indulgently. He draws closer. He comes closer to Louis, right up to his face, so the sword passes through his waistcoat. He reaches out with his now-healed hand and plucks out the sword. Lestat sits down on the bed, drawing up one knee. Louis is becoming spellbound. The vampire theme rises, with the sound of a heartbeat. Louis and Lestat drifting, dreamlike, through the overhanging vines, comes to the grave of his wife and child. Above the crypt, the statue of angel, mother and child. The marble fingers of the child on the statue move. The angel raises her head and Interview with the Vampire Cast List: A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking out on the street, with his back to Malloy. Louis is dressed in an old-fashioned suit. Still in shadow he turns from the window and approaches the table. Malloy is uneasy as he studies the shadowy figure, fascinated but afraid. Louis stands opposite, hand on the chair. Malloy is riveted. Louis pulls the chord of the overhead naked light bulb. He struggles to suppress fear and understand. The light appears to go out by itself and suddenly Louis is in the chair, dimly lit by the street-light from the window. The cassette is turning. Malloy is speechless, frightened yet enthralled. He passes slave quarters and the distant colonial mansion of Pointe du Lac. He comes to a small parish church and a graveyard. he dismounts and walks through the tombs to an elaborate one in Greek Style. There is a marble angel above the tomb, feminine, with a tiny cherub angel in her arms. Louis looks from the angel, down to the inscriptions on the tomb: Louis displays a hand of four aces. A gambler at the table stands in fury, over turning money, cards, drinks. The Gambler pulls out a pearl-handled pistol and points it at Louis. The crowd hushes and draws back. Louis smiles drunkenly and stands. he rips open his lace shirt, exposing his chest. The Gambler's finger on the trigger. His hand shakes. LESTAT, a hooded figure in the corner, smiles from beneath the shadow of his hood. Gleaming blue eyes. The Gambler lowers his gun, scowling. smile. She grabs his fingers and kisses them, thinking him to be her husband. Lestat gently disengages himself and leaves. Lestat spits out in anger. The drumming grows outside. Louis stares. Lestat turns childishly, petulantly. He walks out, humming a French aria. Louis stares at his plate. Louis laughs harshly. Yvette draws closer. Light reveals her beauty. Louis watches her sadly. He's getting hungry. Her throat is long and slender, her breasts are gorgeous. She comes closer, and he can hear her beating heart. She touches his hair. He takes her hand and brings it to his lips. He kisses her wrist. She suddenly gasps, sharply, withdraws her hand. She sees her wrist is red with blood. She sees the blood on his lips. She screams. She screams even louder. Louis clamps his hand over her mouth. Her hand grips the table-cloth, pulls, bringing the empty glasses and crockery to the floor. In horror, Louis realizes he has broken her neck. He brings her cut wrist to his lips, then drops it, revolted. He carries her body outside, grief-stricken. The drumming grows louder. He places the body of Yvette in a rocking chair on the veranda. They don't move. They stare at him blankly. He turns behind him, and looks at the mansion, all candelabra and chandeliers lighted, all windows open. He rushed up the stairs, snatches up the candelabra and sets fire to the drapes. He goes from window to window, lighting drapes, lace curtains, everything. They rush up the stairs with shouts of "STOP HIM, HE'S MAD". A wall of flame gushes out from the interior, blocking their way. Suddenly a large french window cascades inwards and Lestat stands there, whip in hand. Behind him we can see the morning sky. Louis stands there, weakened, then collapses onto the floor. Lestat darts forward and catches him before he drops. He runs out the shattered window, carrying him on his shoulder. Louis laughs softly. He looks directly at Malloy, shocking him with his gaze. Lestat, in the main chamber with two drugged or drunked whores. One runs her finger down his chest. The other seems out of it. He presses his thumb on her neck and holds her tight, sinking his teeth into her neck. After a time she falls to the bed, dead. he turns to the other. He rubs her breast. He bites her in turn, drinks her blood. She does into the swoon. Louis looks on in disgust. He stands. Lestat pulls away from the whore. The girl moans. The girl moans again, open her eyes. He slashes her wrist with his teeth, and lets the blood drip into a glass. The girls moans again. Lestat drinks that glass. The girl begins to scream. Lestat picks her up. He walks to his coffin, puts her inside and sits on the lid. We hear muffled screaming and banging from inside. He stands up. The girl pushes the lid off, hysterical. She looks at Louis. Louis screams at Lestat The girl grabs Louis and pleads. He picks her up again. He turns to Louis laughing. A terrible silence descends. Lestat looks at Louis. Louis leaves without a word. A smaller side street, in which every house is marked with an X. The street is crawling with rats, and Louis is following them. A man passes with a lantern. Louis smiles bitterly at these words, repeating them to himself. He walks on, following the rats. A house, the door slightly open, marked with an X. The sound of a child crying inside. Louis walks towards it. As Louis enters, | Who attempted to kill Lestat in Louisiana? | Claudia. |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- confused -- and into -- MARIE trying to take the hint, but she's curious what he's doing -- But he's not writing -- he's ripping -- tearing the page out of the book -- BOURNE just slammed him against the wall. Hard. Like a tractor hit him. And fast. And that shuts up the room. THE TWO ATTENDANTS rushing to help their boss -- BOURNE grabbing MARIE and pulling her out the door -- BOURNE ignoring her -- ripping through the Alliance Security brochures -- scanning them as he walks -- MARIE just stops. Reeling. BOURNE walking away. Into Paris night and -- ABBOTT jumps off the call. Eyes never leaving ZORN. Total hero moment. I'm here. I'm waiting. I know you're watching. DEAUVAGE doesn't answer -- spinning BOURNE around -- they're really going over him -- ABBOTT just shaking his head no. And CONKLIN snaps -- suddenly he's over the console -- there's the button -- and he's pressing it and -- It's the E-PHONE PAGER -- he's just been activated and -- THE BIG DOORS thrown open wide and -- WOMBOSI on the throne. BOURNE steps up to the plate. KIDS have started sneaking into the room -- DEAUVAGE is trying to scoot them out but -- BOURNE watching the kids -- they are all staring -- There is A BOMB on the throne now. BOURNE -- caught off guard as -- WOMBOSI suddenly rips away his jacket -- so hard that he tears straight through to the shirt -- BOURNE'S BACK -- bare -- two bullet scars -- still raw -- BOURNE imploding -- this news -- the kids staring at him -- the bomb -- it's all getting loud around him -- BOURNE distracted by the kids -- these faces -- it's... BOURNE not sure -- a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and -- She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door -- And as he's doing this, we're hearing -- We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear -- Dial tone. BOURNE making a note. And as he does -- TIME CUT -- one minute later -- call number two -- TIME CUT -- one minute later -- call number three -- TIME CUT -- one minute later -- last call -- BOURNE hangs up. Scribbles down the number. Backing away and -- CONKLIN turns and -- CONKLIN left hanging. ABBOTT clear on this one. BOURNE just trying to feel his way through this... A long awkward beat. Neither of them sure where to go. Another beat. Rawlins holding back until now... RAWLINS smiles. Reset. Sales mode. BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past... BOURNE pulling out another hundred and -- BOURNE sags. ATTENDANT #1 looking baffled. Here comes the boss back from his break -- a little drunk? Everybody following -- all of them | Where was Jason Bourne found by the fisherman? | The Midterranean Sea |
in the corner. Silence. Pressure drop. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and -- THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and -- THE MAN standing before her. Looking very out of place. THE RECEPTIONIST nods. Pulls a pen and bank card. THE MAN takes the pen, as we -- THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not? THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now -- APFEL nods. Gestures down the corridor -- THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid. THE BOX. There's a shallow tray on top. In this tray: a beat- up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne. THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne. BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex. BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and -- First of all... MONEY. Lots of it. Ten thousand dollar stacks about any of it -- He doesn't have to say it twice -- they know the drill -- they're gone. DEAUVAGE closing the doors and as he does -- The Professor is infinitely more talented at this than the bodyguards. Bourne needs to get out of there -- without looking wimpy -- No children are harmed. As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne. There will be a huge, trailer-worthy explosion. This might not want to be very long. There is an extensive action sequence just around the corner. So Bourne escapes. Physically he's just weary. Emotionally he's fucked. All of that happens and we cut to -- ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him. CONKLIN grabbing shit -- like a madman -- CONKLIN splits and -- Silence. Not a word. His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into -- BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there. BOURNE enters. He's got the black duffel. Car keys. And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices -- Bourne turns back to the CLERK. Suddenly -- just like that -- everything's different -- Now MARIE doesn't need a second warning -- -- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked. No of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And... FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says: There's one piece of card stock still with the paper clip in place. And no passport. This card reads: BOURNE sitting there. Trying to push his confusion away. But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun... Suddenly, it's all fucked up. BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except... The gun. He doesn't want the gun. No guns. BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural -- BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street -- BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -- It's just an ambulance. BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and -- BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- door open and CRUSHES the PROFESSOR -- CRUSHES him again and now he is free and -- BOURNE turns, pulls up the shotgun and -- the PROFESSOR kicks it out of his hands -- it clatters to the ground and now we have a beat -- THE TRAIN CAR races across the Bir Hakeim bridge -- all of Paris laid out behind them. BOURNE and the PROFESSOR squaring off -- both looking at the gun -- realizing there's no chance for either one of them to get it and -- A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. Looks like it could go on for a little while when suddenly -- BAM!!! The PROFESSOR drops to the ground -- behind him -- MARIE wields the shot gun. And BOURNE takes the gun from her -- standing there -- reloading -- both barrels -- raising the gun -- aiming it -- THE PROFESSOR staring up at the gun. Stunned. Doomed. Mouth dry. Eyes struggling to make sense of the chaos. BOURNE lowering the weapon -- head swimming -- He's losing blood fast -- things inside him seizing up -- THE PROFESSOR -- coughing -- a spasm -- helpless -- And he's gone. Like that. Sitting there. And BOURNE looks paralyzed too. Kneeling there. Stalled out. BOURNE doesn't answer -- can't, because there's this sound -- this pulsing hum -- BOURNE reaching into THE PROFESSOR'S POCKET and -- INSERT -- THE E-PHONE PAGER -- covered in blood -- hum -- hum -- hum -- BOURNE'S HAND wiping at the blood that covers the display -- BOURNE staring at it. Very familiar to him. BOURNE and MARIE getting off the last car and -- She turns. He's holding the locker key. But EMBASSY SECURITY OFFICER and -- BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -- BOURNE turns back -- as does everyone else in the lobby -- BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 -- BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now -- He's swinging the backpack and -- THE GUN MARINE -- nailed -- blind-sided -- no chance and -- BOURNE -- all motion -- all forward -- all perfect -- vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -- ANOTHER GATE MARINE -- right there -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and -- THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and -- BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and -- And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like | What did the skipper of the boat find in Jason Bournes hip? | a tiny laser projector |
Subsets and Splits