Matéi VISNIEC

PAPARAZZI
or
CHRONICLE OF AN ABORTED SUNRISE

A play with 14 scenes

Translated from the French by Maria Vail

 PAPARAZZI or CHRONICLE OF AN ABORTED SUNRISE
Copyright  1996 by Matéi Visniec
All performance rights, including professional, amateur, stock, motion
picture, radio, television, recitation, public reading, etc. are strictly
reserved. All inquiries should be addressed to the author's agent:
Société des Auteurs et Compositeurs Dramatiques (SACD)
11 bis, rue Ballu, 75442 Paris cedex 09, France
Tel. 33 - (0)1 40 23 44 44 Fax. 33 - (0)1 40 23 45 58
E-mail: international@sacd.fr

© Matéi Visniec
10, rue Watteau 75013 Paris - France
Tel. Fax. : 0033 - (0)1 47 07 31 89 E-mail : visniec@yahoo.fr

Play published in France by Editions ACTES SUD - PAPIERS, Paris 1996

First produced in France by PLI URGENT Company, Lyon

directed by Christian Auger, 1996

Original title in French:

PAPARAZZI ou LA CHRONIQUE D'UN LEVER DE SOLEIL AVORTÉ
 Characters:
(in order of appearance)

PAPARAZZO 1
THE VOICE OF THE BOSS
THE MAN WITH THE CELLO CASE
THE MAN WITH THE SAXOPHONE CASE
THE OWNER
THE VOICE OF THE BLIND MAN
THE BUM
THE MAN WITH THE FLUTE CASE
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN
THE MAN WHO WANTS TO LEAVE ON THE TRAIN
THE CASHIER
PAPARAZZO 2
THE FOREIGNER
THE WOMAN WITH BARE FEET
THE BLIND MAN WHO CLICKS
THE MAN IN THE SACK
THE MAN FOR WHOM BIRTH WAS A DOWNFALL
THE OLD WOMAN OF THE COMPASS
THE MUNICIPAL CLERK
THE DRINK MACHINE

♠
minimum number of actors : 5 (three men, two women)
 SCENE 1

A room. Three or four windows. At each window, PAPARAZZO I

has placed a camera. Outfitted with large lenses, they are mounted
on tripods and aimed low and across the street. PAPARAZZO 1 goes
from one camera to the other, on the lookout through the telephoto
lenses. He is in a state of visible excitement, and his 3 days old beard
betrays his fatigue.

His cell phone rings. PAPARAZZO 1 answers.

Around 8 O'clock at night.

PAPARAZZO 1 - Yeah…
THE VOICE OF THE BOSS - It's me.
PAPARAZZO 1 - Hey Boss.
THE VOICE OF THE BOSS - How's it going?
PAPARAZZO 1 - I'm dead tired, Boss…
THE VOICE OF THE BOSS - I asked you how it's going.
PAPARAZZO 1 - Going alright, boss.
THE VOICE OF THE BOSS - She still there?
PAPARAZZO 1 - Yeah Boss, she slept all day long.
THE VOICE OF THE BOSS - Visitors?
PAPARAZZO 1 - Just some messengers who brought packages and
flowers. And a ton of deliveries. It's insane the amount she must
have spent, Boss! She's crazy boss.
THE VOICE OF THE BOSS - And now?
PAPARAZZO 1 - She's with her masseur. A Chinese gorilla who weighs
I'd say about 300 pounds. Before that she worked out in the garden
with another gorilla who must be one of her own gorillas and gym
equipment. He made her swim some laps in the pool, do a little
jogging and some aerobics, and the whole time he kept timing her.
THE VOICE OF THE BOSS - And did you get her?
PAPARAZZO 1 - Yes.
THE VOICE OF THE BOSS - In the pool, what was she like?
PAPARAZZO 1 - She had her bathing suit on, boss.
THE VOICE OF THE BOSS - Did they open the blinds?
PAPARAZZO 1 - No and I don't see much of anything through those
fucking blinds. But I think they're going to open them soon, before
the gigolos and broads get there.
THE VOICE OF THE BOSS - Good, be careful, there's the whole crowd
going to be posing. It looks like Marlon Brando is coming too.
PAPARAZZO 1 - I'm ready. I've got a camera aimed at the pool, another on
the terrace and the yard, and another on the door to the garden which
can also get everything going on in the living room. But anyway the
'party' is supposed to be in the yard. There've been 5 or 6 waiters
keeping themselves busy for the last 2 hours putting tables and chairs
in the yard. From the number of place settings it looks like she's
expecting at least 200 people boss.
THE VOICE OF THE BOSS - Perfect.
PAPARAZZO 1 - But boss, I'm starving over here. And it's making me sick
to see the number of place settings and when I think of all the food
that's gonna get schlepped out... I've gotta come down for 2 minutes
to get myself a sandwich and a couple beers. (He looks at the carafe
of coffee.) Hey! Check it out, even my coffee supply is almost gone.
THE VOICE OF THE BOSS - Stay there. I'll send Daniel with everything
you need.
PAPARAZZO 1 - Thanks boss. But, when boss?
THE VOICE OF THE BOSS - He's on the corner. I'll send him right away.
Right away, as soon as I can...if I can…
PAPARAZZO 1 - You've gotta boss, you've gotta because I'm starting to
drool like a dog.

Night. Ticking of a watch.

(Or some other way of indicating the passage of time.)

SCENE 2

THE MAN WITH THE CELLO CASE and THE MAN WITH THE
SAXOPHONE CASE, on a deserted street. They seem a little
misplaced.

From time to time in the distance, someone is playing the flute.

About 9pm. In the bar there could be a clock.

THE MAN WITH THE CELLO CASE - I don't understand anything
anymore.
THE MAN WITH THE SAXOPHONE CASE - What?
THE MAN WITH THE CELLO CASE – There, there was an intersection.
THE MAN WITH THE SAXOPHONE CASE - Where?
THE MAN WITH THE CELLO CASE - There, where the dog is.
THE MAN WITH THE SAXOPHONE CASE - So?
THE MAN WITH THE CELLO CASE - But this is weird! There were
three roads that intersected there.
THE MAN WITH THE SAXOPHONE CASE - You're crazy.
THE MAN WITH THE CELLO CASE - No! There… there use to be an
intersection. And a café on the corner.
THE MAN WITH THE SAXOPHONE CASE - The café's still there.
THE MAN WITH THE CELLO CASE - Yes, but it used to be on an
angle. And now there's no more angle.
THE MAN WITH THE SAXOPHONE CASE - You're thinking of a
different street.
THE MAN WITH THE CELLO CASE - No, I know this street really well.
I used to play here often, at Matilda's.

They enter the café. At the register, The Owner stares into the void.
She stays in her own world the whole time.

THE MAN WITH THE SAXOPHONE CASE - Good evening.

THE MAN WITH THE CELLO CASE - Good evening.
THE OWNER - I'm not here.
THE MAN WITH THE SAXOPHONE CASE - Are you the owner?
THE OWNER (totally absent) - Huh?
THE MAN WITH THE CELLO CASE - There used to be an intersection
here, right next to your café…
THE OWNER - Where?
THE MAN WITH THE CELLO CASE - There, where that dog is. Whose
dog is it?
THE OWNER - Who?!
THE MAN WITH THE CELLO CASE - Don't you hear what I'm saying?
The intersection? How is it possible that it's not there anymore?
THE OWNER - You need a light?

The two men exchange looks.

THE MAN WITH THE SAXOPHONE CASE (a little excited, to his

friend) Forget it, it's not worth it.
THE MAN WITH THE CELLO CASE - Wait, she's pissing me off. Listen
lady, you gonna answer me or what?
THE OWNER - Huh?
THE MAN WITH THE CELLO CASE - Who does that dog belong to?
THE OWNER - That what?
THE MAN WITH THE CELLO CASE - That dog! The dog who's hanging
out where the intersection used to be… I mean… the intersection…
where is it? There used to be an intersection where that dog is.
THE OWNER - Pardon?
THE MAN WITH THE SAXOPHONE CASE - Madam, you see the dog?
THE OWNER - I don't care.
THE MAN WITH THE SAXOPHONE CASE - Great. What are we gonna
do now?
THE MAN WITH THE CELLO CASE - I don't know what's going on
anymore. They're all crazy. Madam, do you know who we are?
THE OWNER - We're not serving anymore today.
THE MAN WITH THE CELLO CASE - Lady, I'm gonna tell you
something. We are two assassins!
THE MAN WITH THE SAXOPHONE CASE (laughs stupidly) -
Dangerous.
THE OWNER - We're done serving!
THE MAN WITH THE CELLO CASE - Lady, listen up, we are two
dangerous assassins. Get it? We're here… (He tries to get her
attention with his hand.) Look here... One, two... We are two... I'm
the first...
THE MAN WITH THE SAXOPHONE CASE - And I'm the second...
THE OWNER - And the dog?
THE MAN WITH THE CELLO CASE - The dog. Fuck. She doesn't get
anything.
THE MAN WITH THE SAXOPHONE CASE - Lady, my friend and I, we
are two killers for hire, you understand? Really very dangerous.
Especially my buddy. He's more dangerous than me. Me, I'm
dangerous too, but not as dangerous as my buddy here...
THE MAN WITH THE CELLO CASE - You get it now? And we're
looking for a guy who's walking around with a flute…
THE MAN WITH THE SAXOPHONE CASE - And who's also a killer...
THE MAN WITH THE CELLO CASE - Have you seen him maybe?
THE MAN WITH THE SAXOPHONE CASE - He's always talking about
his birth… get it? Have you heard of anyone in the neighbourhood
who talks about how his mother dumped him into the world?
THE MAN WITH THE CELLO CASE - Hey! Answer!
THE MAN WITH THE SAXOPHONE CASE - Because we've gotta kill
him this killer.
THE MAN WITH THE CELLO CASE - He's less dangerous than we are,
but we've gotta kill this guy anyway.
THE MAN WITH THE SAXOPHONE CASE - Because we are two killers
who're gonna kill a third killer.
THE MAN WITH THE CELLO CASE - And he's supposed to be here...
THE MAN WITH THE SAXOPHONE CASE - At the intersection.
THE MAN WITH THE CELLO CASE - So listen up… and answer:
Where is that intersection?
THE OWNER - Go fuck yourself.
THE MAN WITH THE SAXOPHONE CASE - What are we gonna do?
Should we knock her out?

The telephone rings. The owner answers.

THE OWNER - Hello?

THE VOICE - Hello?
THE OWNER - Yes?
THE VOICE - Good evening.
THE OWNER - Good evening.
THE VOICE - Thanks for picking up. You know I'm calling….
THE OWNER - Excuse me?
THE VOICE - I was saying that I'm calling because... I'm really worried.
You know, I'm blind and, I'm worried because of the sun…
THE OWNER - Go fuck yourself!

She hangs up and continues to stare into the void.

THE MAN WITH THE SAXOPHONE CASE - Oooo lady, that's not nice.
THE MAN WITH THE CELLO CASE (to his friend) - C'mon that's
enough. Let's beat it. They're all outta their minds.

Night. We hear sirens.

(Or some other way to indicate time passing.)

SCENE 3

THE BUM, next to a lamppost, near a drink machine, sitting on the

sidewalk, back against the wall, earphones on his ears, he's listening
to a singer and talks as if he people were walking in front of him. At
his feet some change, a bowl upside down and a box on which is
written "DON'T GIVE ME ANYTHING. IT IS FORBIDDEN" In the
distance we vaguely hear music (a cello, a saxophone and a flute and
from time to time, voices, exclamations, cries even explosions of joy,
etc.)
 About 10pm.

THE BUM (His movements and his gestures are in the rhythm of the music
he listens to, his lines are almost all sung.) - Don't give me anything,
Ma'am, it's forbidden… No Madam, please, I don't need anything at
all, nothing at all… Yes... I just want to be left alone (To himself.)
It's impossible with these people… You're never left in peace on the
sidewalk, never, because my presence bothers you.... (To an invisible
passer-by.) No, Sir, don't give me anything, it's forbidden and on top
of it I bother you. Do I bother you or is it my misery that bothers
you? (To himself.) Assholes... (To an invisible passer-by.) Do I stink,
sir? I'm asking you if I stink? No? Liar! Go on, get out of here,
you're breathing my air, you're a liar, go on, go fuck yourself with
your 5 francs… enough... enough… (To himself.) Oh my Lord, what
a world, what a world! (To invisible passers-by.) Hey, it's the end of
the world, did ya know? (To himself.) They know nothing…
nothing… (To an invisible passer-by.) You're in such a rush sir, too
much of a rush, and that offends me! I can't stand people on my
sidewalk… Not people in a rush, I fuck with them! Yes… (To
himself.) Oh my Lord, it's over, it's finished, it's done, they're all outta
their minds!… (To invisible passers-by.) Don't you listen to the radio,
you haven't heard that the sun fucking imploded?? (To himself, in
'rap.')
No, no they never hear nothin'
They just don't hear
They don't listen to you
They don't listen to themselves
 They don't talk to you
They don't talk to themselves
They don't look at you.
They don't look at themselves.
They don't …
Man, how that one stinks! (To an invisible passer-by.) You're wearing
too much Chanel!... (He continues his rap song.)
Too much Chanel
Too much Lancome
Too much Chacharel
Too much Yves saint-Laurent
Too much Givenchy
Too much Rochas
Too much Christian Dior
Too much crap...
Yes Mister, it's too much and it stinks, it stinks up the town, really,
stop being cowboys, really, just once, stop acting like losers... Mister,
you want a cigarette? (He lights a cigarette.) No, I'm offering YOU a
cigarette, you don't smoke? Oh too bad, you've never smoked?
Listen mister, I'll give you my butt… Come on, try just once, try at
least once….
Night, footsteps, lots of footsteps in the street.
(Or some other way to mark time passing.)
 SCENE 4

THE MAN WITH THE FLUTE CASE, on a deserted street, near a

telephone booth and a public fountain. One would say he's seen
better days, because his clothes are tattered and his flute case is
smashed. He is bathing in the fountain. Next to the fountain, on the
pavement, are his flute case and a bottle of champagne, almost full.

In the distance we hear vague music (it's a saxophone and a cello) and
from time to time, voices, cries and barking.

The phone in the phone booth rings.

THE MAN WITH THE FLUTE CASE stays motionless for a few
seconds, listens, takes out a handkerchief, wipes his hands and face,
then guides himself over to the phone and answers.

About 11pm.

THE VOICE - Hello?

THE MAN WITH THE FLUTE CASE - Yes?
THE VOICE - Good evening.
THE MAN WITH THE FLUTE CASE - Good evening.
THE VOICE - Thank you for taking my call. You know, I'm calling
because there are always people near that phone who pick up.
THE MAN WITH THE FLUTE CASE - Excuse me?
THE VOICE - I'm saying I'm calling because there's always someone there
who answers. How are you doing?
THE MAN WITH THE FLUTE CASE - You crazy or what?
THE VOICE - No, actually I'm blind.
THE MAN WITH THE FLUTE CASE - You're blind...
THE VOICE - Sadly, yes.
THE MAN WITH THE FLUTE CASE - I'm sorry.
THE VOICE - Fine. That's not important right now. It's a long story. You
got a little time?
THE MAN WITH THE FLUTE CASE - You want to tell me your life
story?
THE VOICE - No. I wanted to ask you something else. I want to ask you
to stay on the line with me for a minute and answer some questions.
THE MAN WITH THE FLUTE CASE - What kind of questions?
THE VOICE - Sheesh, nothing important. I just wanted to ask you to look
around you there and tell me what you see.
THE MAN WITH THE FLUTE CASE - What I see… Listen, Mister, I'm
afraid I don't understand you, and besides, I'm kind of in a hurry.
THE VOICE - Ok, but, just for a minute, I'm not asking you for an eternity
here. I'm just asking for you to stay on the line for one minute with a
blind person.
THE MAN WITH THE FLUTE CASE - Where are you calling from?
THE VOICE - My house. I'm all alone. I live alone.
THE MAN WITH THE FLUTE CASE - You live alone?
THE VOICE - Yes, and that's why I call from time to time, at random, just
to talk a little with someone…
THE MAN WITH THE FLUTE CASE - But why don't you call your
buddies, other blind guys?
THE VOICE - It's no fun. What I really like is when seers tell me what they
see around them. Where are you there, in a park?
THE MAN WITH THE FLUTE CASE - Yes. How did you know that?
THE VOICE - I can hear the ducks. There must be a lake there somewhere.
THE MAN WITH THE FLUTE CASE - Actually yes. The lake is very
close by.
THE VOICE - You see it?
THE MAN WITH THE FLUTE CASE - Yes
THE VOICE - It's about 50 yards from you, right?
THE MAN WITH THE FLUTE CASE - Yes.
THE VOICE - Are there people around it?
THE MAN WITH THE FLUTE CASE - No.
THE VOICE - And the ducks, can you see them?
THE MAN WITH THE FLUTE CASE - No.
THE VOICE - Not one?
THE MAN WITH THE FLUTE CASE - Not one.
THE VOICE - But what do you see then?
THE MAN WITH THE FLUTE CASE - In the direction of the lake?
THE VOICE - Yes.
THE MAN WITH THE FLUTE CASE - I see a dog.
THE VOICE - A dog! Is he all alone?
THE MAN WITH THE FLUTE CASE - Yes. It must be a stray.
THE VOICE - What's he doing?
THE MAN WITH THE FLUTE CASE - Nothing. Just lying there.
THE VOICE - Good. You don't have anything to eat on you I guess.
THE MAN WITH THE FLUTE CASE - No. But I've got a bottle of
champagne.
THE VOICE - What?
THE MAN WITH THE FLUTE CASE - Oh nothing.
THE VOICE - Too bad. Are there trees around the lake?
THE MAN WITH THE FLUTE CASE - Yes.
THE VOICE - Beautiful, the trees, right?
THE MAN WITH THE FLUTE CASE - Yes. Sir, I'm afraid I've got to go.
THE VOICE - You're going to go jogging perhaps?
THE MAN WITH THE FLUTE CASE - Yes, that's it. I'm going jogging.
THE VOICE - I see... Thank you all the same for having answered my call.
THE MAN WITH THE FLUTE CASE - You're welcome.
THE VOICE - It pleases me to hear you. Oh, one last question please. The
sky, how is it right now? Is it clear?
THE MAN WITH THE FLUTE CASE - Yes. But there are some clouds
gathering.
THE VOICE - Yes, that must be beautiful, the sky with gathering clouds…
THE MAN WITH THE FLUTE CASE - Yes.
THE VOICE - And the sun?
THE MAN WITH THE FLUTE CASE - The sun?
THE VOICE - The sun...
THE MAN WITH THE FLUTE CASE - The sun, what about the sun?
THE VOICE - You see the sun?
THE MAN WITH THE FLUTE CASE - Listen mister, go fuck yourself!
THE VOICE - Go on, good night. Thank you anyway for answering my
call. And look at the sun from time to time for me… and thanks, ok?
THE MAN WITH THE FLUTE CASE - Please! Goodbye!
THE VOICE - Goodbye.

THE MAN WITH THE FLUTE CASE hangs up. He guzzles some
champagne directly from the bottle, takes his flute case and lies
down.

The phone rings again. THE MAN WITH THE FLUTE CASE stops,
hesitates and finally turns around. He puts the flute case and the
champagne bottle back on the pavement and answers.

THE MAN WITH THE FLUTE CASE - Yes?

THE VOICE - Me again.
THE MAN WITH THE FLUTE CASE - Yeah, I thoughts so.
THE VOICE - I wanted to tell you that there's an apartment for rent in my
building.
THE MAN WITH THE FLUTE CASE - I don't understand.
THE VOICE - Never mind. Goodbye.

THE MAN WITH THE FLUTE CASE hangs up, waits a couple
seconds, guzzles some more champagne directly from the bottle and
goes off.

He has left the bottle next to the public fountain.

Running water.
(Or another way to show time passing.)
 SCENE 5

The CASHIER behind a ticket window at the train station. THE MAN
WHO WANTS TO LEAVE ON THE TRAIN and THE WOMAN WHO
WANTS TO LEAVE ON THE TRAIN. They have no baggage and are
both dressed in white, in grand elegance, as if for a sophisticated
evening out.

Around midnight.

THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to the

CASHIER) - I don't understand.
THE CASHIER - It's that there are no more trains.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - How's that?
THE CASHIER - That's how it is.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to THE
WOMAN WHO WANTS TO LEAVE ON THE TRAIN) - He says there
are no more trains.
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - How's that?
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - Just what I
said.
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - But that's
impossible.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to the
CASHIER) - But that's impossible.
THE CASHIER - It's true.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to THE
WOMAN WHO WANTS TO LEAVE ON THE TRAIN) - What are we
going to do?
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - And the
tickets, can we buy them?
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to the
CASHIER) - And the tickets, can we buy them?
THE CASHIER - Yes, if you want…but it's of no use.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to THE
WOMAN WHO WANTS TO LEAVE ON THE TRAIN) - What should
we do? Should we buy them?
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - Yes.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - Two tickets
then.
THE CASHIER - Two?
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - Yes, two.
THE CASHIER - Alright. But I warn you again that there won't ever be a
train coming to this station again.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - It doesn't
matter.
THE CASHIER - And in my opinion there will never be another train
anywhere.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - It doesn't
matter. (To THE WOMAN WHO WANTS TO LEAVE ON THE
TRAIN.) Isn't that so, sweetheart?
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - Yes, it's of
no importance.
THE CASHIER - Two tickets to where?
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to THE
WOMAN WHO WANTS TO LEAVE ON THE TRAIN) - Where are we
going darling?
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - As far
away as possible.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to the
CASHIER) - We're going far away. As far away as possible. Give us
the most expensive tickets, that way we'll be sure they will take us as
far away as possible.
THE CASHIER - I don't sell international tickets. If you want to go abroad
you'll have to see the next window.
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - It's closed.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - It's closed.
THE CASHIER (getting agitated) - I don't know which ticket takes you as
far as possible. You have to ask me for the name of a town, a
place… I too would like to go away as far as possible. But I don't
know where that would be in this country, this place that's as far
away as possible. There are no more places as far away as possible in
this country… There is nothing anymore, nothing… Nothing! Done!
Finished! (He closes the window.) That's enough! Get out of here!

Pause. THE MAN WHO WANTS TO LEAVE ON THE TRAIN and

THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN wait a few
seconds.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (knocks gently
on the window) - Sir...
THE CASHIER - We're closed.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - Please sir…
THE CASHIER - I'm never opening again! Done! All the windows are
closed at this station, you understand? There are no more trains,
there are no more windows, there are no more tickets, there are no
more destinations… Leave me alone…
THE MAN WHO WANTS TO LEAVE ON THE TRAIN (to THE
WOMAN WHO WANTS TO LEAVE ON THE TRAIN) - What should
we do?
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - I think I
want to leave you, Roger.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - Yes, of course.
THE WOMAN WHO WANTS TO LEAVE ON THE TRAIN - I think I'll
leave all alone… Goodbye.
THE MAN WHO WANTS TO LEAVE ON THE TRAIN - But...

She leaves.

THE MAN WHO WANTS TO LEAVE ON THE TRAIN (stays by

himself, to himself) Goodbye... (He turns in a circle.) Goodbye... (He
knocks on the window again) Goodbye... (Nobody answers.) In any
case, I'm ready. In any case, I never did believe in anything anyway.
 The sound of a crazy train comes towards the town. Maybe a horrible
sound of impact, maybe the train has crashed through the deserted
train station.

Time passes.

SCENE 6

A bar. THE OWNER who stares into the void, THE FOREIGNER at
the bar, PAPARAZZO 2 is talking on the telephone (using the
owner's telephone). The interior is lit by a light coming in from
some part of the neighbourhood.

About 12:30 at night. There could be a clock at the bar.

PAPARAZZO 2 (on the phone) - And if it turns out to be true?

THE VOICE OF THE BOSS - What are you, crazy?
PAPARAZZO 2 - I saw a dog commit suicide right in front of me.
THE VOICE OF THE BOSS - So?
THE FOREIGNER (to himself) - Merde.
PAPARAZZO 2 - There was a runaway train that crashed right through the
main train station.
THE VOICE OF THE BOSS - Ahh, that's not bad. Did you get photos?
PAPARAZZO 2 - Yes, boss.
THE VOICE OF THE BOSS - Any dead?
PAPARAZZO 2 - No, the station was deserted.
THE FOREIGNER (to himself) - Merde.
THE VOICE OF THE BOSS - How could it be deserted? The main train
station is never deserted!
PAPARAZZO 2 - Well, it was deserted. That's why I'm telling you boss,
maybe it's true.
THE VOICE OF THE BOSS - It can't be true, get it? It's just some kind of
stunt, a publicity thing or something like that. Don't get fooled.
PAPARAZZO 2 - Why shouldn't it be true?
THE VOICE OF THE BOSS - Because it's never happened before.
PAPARAZZO 2 - Maybe people are going nuts, boss. Across from here
there's a whole family, a father, a mother a grandmother and four
kids between five and nine who are burning everything that they can
burn on the street. We'd call the fire department but there's no more
service. It seems all the firemen have had nervous breakdowns…
THE VOICE OF THE BOSS - You're shitting me.
THE FOREIGNER (to THE OWNER) – Encore une bière, s'il vous plait.
THE OWNER - Leave me the hell alone.
PAPARAZZO 2 - It also looks like some crazy guard has opened the prison
doors…I've seen these absolutely bizarre looking guys strolling
around town…
THE VOICE OF THE BOSS - Enough! Go to Mario's, he's waiting for
you. We can't miss the moment the shit hits the fan at that lady's
house.
PAPARAZZO 2 - Is it true that Marlon Brando's supposed to be there too?
THE VOICE OF THE BOSS - Yeah. Go, hurry up. And don't forget the
beer for Mario.

THE BOSS hangs up. PAPARAZZO 2 turns to THE FOREIGNER.

PAPARAZZO 2 - You a foreigner?

THE FOREIGNER - Merde.
PAPARAZZO 2 - Tourist?
THE FOREIGNER - Merde.
PAPARAZZO 2 - Did you know it's the end of the world?
THE FOREIGNER - Merde.
PAPARAZZO 2 - Is that all you have to say?
THE FOREIGNER - Oui.
PAPARAZZO 2 - Crap.
THE FOREIGNER - Merde.
PAPARAZZO 2 - Shit.
THE FOREIGNER - Merde.
PAPARAZZO 2 - Merde.
THE FOREIGNER - Merde, shit.
PAPARAZZO 2 - Bravo! It's OK. Now we're pals.
THE FOREIGNER - OK. Shit. Merde.
PAPARAZZO 2 - A thousand shits! They're all nuts.
THE OWNER - Go on, piss off.
THE FOREIGNER - Fous. Ils sont tous fous. Merde.
PAPARAZZO 2 (to THE OWNER) - Two bottles of beer, please.
THE OWNER - There's no more beer.
PAPARAZZO 2 (to THE FOREIGNER) - Sorry. There's no more beer.
THE FOREIGNER - Merde! Je veux une bière, moi!
THE OWNER - Go fuck yourself!
PAPARAZZO 2 (to THE FOREIGNER) - French?
THE FOREIGNER - Non.
PAPARAZZO 2 - Canadian?
THE FOREIGNER - Non.
PAPARAZZO 2 - Belgian?
THE FOREIGNER - Non.
PAPARAZZO 2 - Fine! So! Where are you from? Which country?
THE FOREIGNER - Shit country.
PAPARAZZO 2 - Ah, Ok. I understand.
THE FOREIGNER – Voilà!
PAPARAZZO 2 - Here, want a beer? (He goes behind the bar and takes
out a few bottles of beer. The OWNER doesn't budge, she stares
fixedly into the void.) Cheers! To us!
THE FOREIGNER - Merde! Sante!
PAPARAZZO 2 - Shit. Cheers!
THE FOREIGNER (in an accent) – To us! Vive la France!
THE OWNER - It's over! Nothing left.
PAPARAZZO 2 - She's right, we're all in deep shit.
THE FOREIGNER - Shit!
PAPARAZZO 2 - Yes we're all in deep shit. N'est-ce pas?

He leaves with two beers and a sandwich.

Night. Country music.
(Or some other way to show the passing of time.)
 SCENE 6

PAPARAZZO 1 is on the phone to THE BOSS. He constantly goes

back and forth from the telephoto lens.

About 1 o'clock in the morning.

PAPARAZZO 1 - Ten or twelve, boss… only about 2 or 3 broads… There

are also a couple who came by and left right away…
THE VOICE OF THE BOSS - She must be disappointed…
PAPARAZZO 1 - I don't know. It looks like she doesn't give a shit. We
tried to call her a bunch of times but now she's not answering calls…
She also let the servants go… Half the food was thrown into the
pool…
THE VOICE OF THE BOSS - Ah, that must be nice. I need all that.
PAPARAZZO 1 - You'll get it boss... If you could see the bottles of
champagne, Cordon Bleu that are floating in the pool…And the
caviar that they chucked…Check it out, one of them just climbed up
on the table.
THE VOICE OF THE BOSS - Who?
PAPARAZZO 1 - I don't know, boss. He filled the plates and now he's
walking all over them. But I don't know who he is.
THE VOICE OF THE BOSS - Take it anyway.
 PAPARAZZO 1 snaps a picture.

PAPARAZZO 1 - I don't understand, boss. They've all gone completely

crazy.
THE VOICE OF THE BOSS - It must be this business about the sun, I'm
sure of it.
PAPARAZZO 1 - What business?
THE VOICE OF THE BOSS - It a crazy thing. They say there was a
cosmic explosion.
PAPARAZZO 1 - A what?
THE VOICE OF THE BOSS - Nothing. It's not serious. But it looks like
some people have started to go nuts.
PAPARAZZO 1 - In any case, she keeps drinking and crying like crazy
THE VOICE OF THE BOSS - Take her!
PAPARAZZO 1 - She's incredibly beautiful, boss, when she bawls.
THE VOICE OF THE BOSS - Take her again.

PAPARAZZO 1 takes a picture.

PAPARAZZO 1 - She must be completely wasted. Check it out, the guy

who was walking on the plates just threw himself into the pool. (He
takes a picture.) Looks like the flute player is beating it.
THE VOICE OF THE BOSS - And the other guy, the one on the cello?
PAPARAZZO 1 – He's dancing around in a daze. Incredible. It's total
madness, boss, and there's another one who's climbing the roof.
THE VOICE OF THE BOSS - Who is it?
PAPARAZZO 1 - He looks a little like the guy…what's his name... shit, the
one who played the guy in…fuck, what was the name of that movie?
(Excitedly.) He's taking his clothes off, boss! He's taking his clothes
off! Shit! He's crazy this guy! (He's taking pictures the whole
time.) Oh no!
THE VOICE OF THE BOSS - What? What?
PAPARAZZO 1 - There's a broad, the big one, who's shooting at him!
THE VOICE OF THE BOSS - No way!
PAPARAZZO 1 - Yes.
THE VOICE OF THE BOSS - And him?
PAPARAZZO 1 - He can't hear anything. He's listening to the singer.
THE VOICE OF THE BOSS - Don't miss this! Don't miss it! Especially if
she hits someone! Has she hit anyone?
PAPARAZZO 1 - She a bad shot, boss. (Panicked.) Shit! Goddamned
Shit!
THE VOICE OF THE BOSS - What?
PAPARAZZO 1 - The camera. I've got to put more film in.
THE VOICE OF THE BOSS - Hurry up.
PAPARAZZO 1 - Yes boss. (He puts more film in.) You promised me
something boss.
THE VOICE OF THE BOSS - What?
PAPARAZZO 1 - A sandwich, boss. You told me Daniel was at the corner.
I need a cold beer, boss. When I see the amount of beer these wack
jobs have chucked on the ground, I want to scream… On top of it
there's one who's watering the flowers with the last bottles of beer….
THE VOICE OF THE BOSS - C'mon, c'mon, have you put in the fucking
film?
PAPARAZZO 1 - Yes boss! (He starts taking pictures again.) Ah, that's the
best. (He laughs.) Oh, no, that's…
THE VOICE OF THE BOSS - What is it?
PAPARAZZO 1 - She's fucking the flute player!
THE VOICE OF THE BOSS - No! Where? I thought he left?
PAPARAZZO 1 (keeps taking pictures) - Exactly, she caught up with him
and now she's fucking him on the street.
THE VOICE OF THE BOSS - On the street? Listen, you're shitting me!
PAPARAZZO 1 - I'm not boss!
THE VOICE OF THE BOSS - She's naked?
PAPARAZZO 1 - No, just barefoot… Oh my God! This is too much, boss,
listen… (He keeps taking pictures.) This cosmic explosion you were
talking about… (Takes a picture.) If we go with it… and if it's
public… Holy Mother, it'd be like dynamite… we'd totally rake it in!

Night. We hear gunshots.

(Or another way to show time passing.)
 SCENE 8

THE WOMAN WITH BARE FEET near the telephone booth and the
public fountain. Dressed in evening attire very elegantly, but a little
dirty and dishevelled. THE WOMAN WITH BARE FEET seems tired,
and we get the impression she's wandered in from town. She's
washing her feet. She finds the bottle of champagne left by THE
MAN WITH THE FLUTE CASE and she drinks several mouthfuls.

The telephone rings in the booth nearby. THE WOMAN WITH BARE
FEET glances around, waits a moment, and finally answers

About 2am.

THE WOMAN WITH BARE FEET - Hello?

THE VOICE - Hello.
THE WOMAN WITH BARE FEET - Hello.
THE VOICE - Thank you for answering. It really does me good to hear
your voice.
THE WOMAN WITH BARE FEET - But…Who would you like to speak
with?
THE VOICE - With you, if you'll listen to me for a little while.
THE WOMAN WITH BARE FEET - But this, this is a telephone booth!
THE VOICE - Yes, I know. It's the phone booth next to the park.
THE WOMAN WITH BARE FEET - Oh no. There's no park near here.
This is a bus stop.
THE VOICE - Huh. Strange. I was told that there was a park, a lake and
some ducks in the area.
THE WOMAN WITH BARE FEET - Listen mister, there's no park, no
lake, and no ducks here. Maybe you want to talk to the bus driver?
THE VOICE - No. Is he there?
THE WOMAN WITH BARE FEET - No. But he'll be here soon.
THE VOICE - Good, in the meantime, 'till he gets there I'd like to ask you
some questions.
THE WOMAN WITH BARE FEET - Me?
THE VOICE - Yes Ma'am. You know, I am blind.
THE WOMAN WITH BARE FEET - Ah...
THE VOICE - And I live alone, for many years now. I have no family, I
have no friends. My only connection to the world outside is the
telephone. And, since I know no one, I call randomly. Sometimes I
happen upon people in a hurry, furious, aggravated, who feel cheated
because I ask them for one minute of their lives. But very often I
come upon friendly men and women, like you. This is how I get the
pulse of the world, you see? Are you listening?
THE WOMAN WITH BARE FEET - Yes.
THE VOICE - Even if people refuse to listen to me or to answer me, the act
of having contact with them reassures me, I know that the world
exists, that it turns, that it continues…
THE WOMAN WITH BARE FEET - Sir, the bus is coming...
THE VOICE - Oh no!
THE WOMAN WITH BARE FEET - Unfortunately… I'm sorry, I've got to
go.
THE VOICE - Miss, miss! Just one question! The sky, how is it right
now? Is it clear?
THE WOMAN WITH BARE FEET - Yes...
THE VOICE - Clear, totally clear? Not one cloud anywhere?
THE WOMAN WITH BARE FEET - No, but soon they'll come… Go on,
sir, goodbye!
THE VOICE - Miss, miss… do me a favour, take the next bus.
THE WOMAN WITH BARE FEET - I can't. And anyway, you're crazy.
Goodbye, sir.

THE WOMAN WITH BARE FEET hangs up. She stays near the
telephone booth.

After 20 or 30 seconds, the telephone rings again. THE WOMAN

WITH BARE FEET picks up.

THE VOICE - Hello? It's me again.

THE WOMAN WITH BARE FEET doesn't speak

THE VOICE - Hello? Is it you Miss? You hear me?

THE WOMAN WITH BARE FEET doesn't answer.

THE VOICE - I'm calling you because… hm, it's bizarre, but I had a sort of
intuition…I told myself that maybe you were still there… And you
are there, without a doubt. You hear me but you don't want to
answer me. No problem. Anyway, know that I'm very happy to be
able to talk to you. Truly, very happy. To talk to you and to know
that you decided to take the next bus... Miss, the sky isn't clear is it?
THE WOMAN WITH BARE FEET - No.
THE VOICE - It's more overcast today, right?
THE WOMAN WITH BARE FEET - Yes.
THE VOICE - What colour are the clouds?
THE WOMAN WITH BARE FEET - Gray.
THE VOICE - And the bus, what colour was it?
THE WOMAN WITH BARE FEET - Red.
THE VOICE - You're the only one at the bus stop?
THE WOMAN WITH BARE FEET - Yes.
THE VOICE - And the street? Is it a two way street?
THE WOMAN WITH BARE FEET - Yes.
THE VOICE - How many lanes in each direction?
THE WOMAN WITH BARE FEET - Two.
THE VOICE - A grassy median?
THE WOMAN WITH BARE FEET - Yes.
THE VOICE - And on the other side of the street, what do you see?
THE WOMAN WITH BARE FEET - It's a field.
THE VOICE - You don't see even one tree by any chance?
THE WOMAN WITH BARE FEET - No the field is empty all the way to
the horizon.
THE VOICE - Thank you miss. That will be all.
THE WOMAN WITH BARE FEET - You're welcome.

He hangs up. THE WOMAN WITH BARE FEET hangs up. She stays
waiting a few seconds and then lies down.

Time passes.

SCENE 9

The room is lit by the light of a television. THE BLIND MAN WHO
CLICKS is sitting in an easy chair in front of the television that
illuminates his face.

THE BUM will enter furtively and will stand immobile a long time
behind THE BLIND MAN WHO CLICKS, watching the television.

About three o'clock in the morning. In the room there can be a wall
clock.

THE BLIND MAN WHO CLICKS has just come upon a televised
debate.

VOICE OF A REPORTER LIVE ON LOCATION - ...boiling over, that's

really the word, because there are monstrous traffic jams, it seems
 that at the border the customs officials are also totally boiling over,
nobody has slept, there has been pillaging…

THE BLIND MAN WHO CLICKS clicks.

THE VOICE OF THE ANCHORMAN- ... we remind our viewers that you
work in the Astronomical Observatory of Geneva. So, Professor
Pandolfi, it seems that we are witnessing, directly living, an
incredible cosmological phenomenon.
THE VOICE OF PROFESSEUR PANDOLFI - Yes. It has to do with a
sort of solar implosion that started several hours ago.
THE VOICE OF THE ANCHORMAN - So, what does that mean exactly,
solar implosion? Does it mean the sun will not be like it was before?
THE VOICE OF PROFESSEUR PANDOLFI - In fact, it's very difficult to
measure the consequences of this phenomenon right now, that's
started a sort of chain reaction in our galaxy because of some type of
trigger agent from elsewhere…
THE VOICE OF THE ANCHORMAN - Is it like a computer virus?
THE VOICE OF PROFESSEUR PANDOLFI - If you like...
THE VOICE OF THE ANCHORMAN - But what will happen, in concrete
terms, to our sun?
THE VOICE OF PROFESSEUR PANDOLFI - In principle, after an
implosion, there's the risk that a star, in our case the sun, will keep
it's mass but lose it's size, since it has to do with a collapse of matter
upon itself, a sort of incredible retraction…A star that implodes is
like a black hole that quickly absorbs its own energy.
THE VOICE OF THE ANCHORMAN - Professor, be more concrete. At
this moment does the sun exist or is it gone?
THE VOICE OF PROFESSEUR PANDOLFI - It exists, but its diameter is
shrinking incredibly quickly and finally, if our calculations prove
correct, it'll have a diameter no bigger than the city of Paris.
THE VOICE DU ANCHORMAN - So, will we see it tomorrow or not?
THE VOICE DU PROFESSEUR PANDOLFI - In my opinion, no.

THE BLIND MAN WHO CLICKS clicks.

ANOTHER REPORTER'S VOICE - ...30 30. I repeat the number: 43 43 30

30. Fourth phone number: 44 44 30 30. I repeat: 45 45 30 30. Fifth
phone number: 45 45 30 30. You can also use our E-mail...

THE BLIND MAN WHO CLICKS clicks.

THE VOICE OF PROFESSEUR PANDOLFI - ...don't believe… First of

all, it's not about a new big-bang… And in any case, a galaxy doesn't
work like a an electric company, so you can't talk about an
blackout…

THE BLIND MAN WHO CLICKS clicks.

VOICE OF A MUNICIPAL BUREAUCRAT - Don't give in to panic… It's

just a disturbance… The municipality requests that you conserve
electricity and not give into panic… We are civilized beings, stay
home… We are humans, we have a conscience, conserve water and
 electricity… Dignity before all, we must not forget that we are
responsible beings…

THE BLIND MAN WHO CLICKS clicks.

THE VOICE OF AN EXCITED REPORTER - ...never, never… And that's

why I invite you to follow with us live the end of the world, don't
forget, all news on our station, live, until the last moment, up next…
(He coughs.) …the end of the world… (Yelling.) Mr. President, a
question please, one question…

THE BUM makes a noise.

THE BLIND MAN WHO CLICKS (cuts the sound) - Who's there?
THE BUM (in a low voice) - You think it's true?
THE BLIND MAN WHO CLICKS - Who's there?
THE BUM - It's me...
THE BLIND MAN WHO CLICKS - Who?
THE BUM - I live across from you.
THE BLIND MAN WHO CLICKS - Where?
THE BUM - I'm, sort of… your neighbour… I live on the sidewalk across
the street… for ten years now. I know you well, sir. I see you almost
every day.
THE BLIND MAN WHO CLICKS - You have a dog, right?
THE BUM - Yes, but he left me.
THE BLIND MAN WHO CLICKS - When?
THE BUM - After the explosion. (He wipes a tear.) Do you believe it's
true? I believe it's true. It's high time this comes crashing down on
us.
THE BLIND MAN WHO CLICKS - I don't know...
THE BUM - This, this is because man has lost his faith… we have betrayed
God… we don't love him anymore…
THE BLIND MAN WHO CLICKS - How did you get in?
THE BUM - We're fucked, sir. Fucked. There's nothing to be done. We
can only wait. Wait and pray.
THE BLIND MAN WHO CLICKS - But how did you get in?
THE BUM - I still have the copy of the key that your mother lost a few
years ago. Crazy how the time passes.
THE BLIND MAN WHO CLICKS - Was it you who took a shower here
last year?
THE BUM - Yes.
THE BLIND MAN WHO CLICKS - Would you like something to drink?
THE BUM - Yes...
THE BLIND MAN WHO CLICKS - There's a bottle of cognac in the
bureau, there…
THE BUM (gets up to find the bottle) - I know...
THE BLIND MAN WHO CLICKS - And the glasses...
THE BUM - Don't get up, I know where they are… (He goes into the
kitchen. Coming back.) The grand drama, you see, in my opinion…is
that God doesn't love us anymore either… (He fills the glasses.) And
now it's too late.
THE BLIND MAN WHO CLICKS - You're a believer?
THE BUM - Yes.
THE BLIND MAN WHO CLICKS - And two years ago, it was you who
stole a silver fork and spoon?
THE BUM - Yes, sir, it was me. I was in a very bad way and…
THE BLIND MAN WHO CLICKS - And what did you do with the bottle
of Chanel?
THE BUM - You won't believe me… I gave it as a present.
THE BLIND MAN WHO CLICKS - To whom?
THE BUM - A Madame Morand, the concierge.
THE BLIND MAN WHO CLICKS - Oh really!
THE BUM - Yes. She was always so nice to me. So I said to myself, look,
in any case you mother is dead… so I'll stole the Chanel for her…
because, in any case... I thought God would pardon me.
THE BLIND MAN WHO CLICKS - Sit down… My mother too was a
believer.
THE BUM - Yes, I know.
THE BLIND MAN WHO CLICKS - Did she speak to you from time to
time?
THE BUM - Yes. Sometimes she brought me leftovers for my dog.
THE BLIND MAN WHO CLICKS - Here, to us!
THE BUM - To your health!

They drink in silence.

THE BLIND MAN WHO CLICKS - The little music box with the dancing
ballerinas, do you still have it?
THE BUM - No, I sold it at the flea market.
THE BLIND MAN WHO CLICKS - And the candlesticks?
THE BUM - Sold also.
THE BLIND MAN WHO CLICKS - And the amber medallion?
THE BUM - That I still have. When I stole it I didn't know it had a picture
of your mother inside. So when I saw her picture hidden there, I said
to myself, look, Mimile, this is no good what you're doing, you've got
to give this back to Mister Bessou. So, I kept it.
THE BLIND MAN WHO CLICKS - Really?
THE BUM - Yes, here, I'll give it back to you...
THE BLIND MAN WHO CLICKS - Oh, it's so good to touch it!
THE BUM - I know that you were attached to it.
THE BLIND MAN WHO CLICKS - Thank you sir. Truly, great thanks. I
am in your debt. Would you like to take a shower?
THE BUM - Yes. I'd like that very much.
THE BLIND MAN WHO CLICKS - Go ahead. Make yourself at home.

Night.
We hear the sound of the television that gets no channel.
(Or some other way to mark time passing.)

SCENE 10

THE MAN WITH THE CELLO CASE kicks a sack which holds a
human form. Near the drink machine.

About 4 o'clock in the morning.

THE MAN WITH THE CELLO CASE - Silence! Silence! I said silence!

The victim groans.

THE MAN WITH THE CELLO CASE (a few more kicks) - You gonna
shut up. Huh? Shit! You shutting up or what?

The victim groans.

THE MAN WITH THE CELLO CASE (continues to hit) - That's enough,
shit! Shit! Shut the fuck up! Shut up already!

The victim quiets down. THE MAN WITH THE CELLO CASE wipes
his forhead. The victim starts to groan.

THE MAN WITH THE CELLO CASE - Son of a bitch! (He hits again.)
You gonna shut up, huh? Shut your mouth now! (He hits.) Now!
(He hits.) Now! Stop! Stop, stop, stop! You piece of shit… Oh, I've
got a headache!

During this, THE MAN FOR WHOM BIRTH WAS A DOWNFALL

enters, buys a coke, opens it, drinks and looks at the scene. After a
moment.

MAN FOR WHOM BIRTH... - Sir, may I tell you a story having to do with
birth?
THE MAN WITH THE CELLO CASE - I don't know... Really! All I know
is that it'll have a bad ending.

The victim groans.

MAN FOR WHOM BIRTH... - Calm down, my God! You'll wake up the
whole street.
THE MAN WITH THE CELLO CASE (desperate, almost in tears, he sits
on the body) - I don't know. He's driving me crazy.
MAN FOR WHOM BIRTH... - You know, I've often asked myself… what
is birth? So, birth, is first of all a cry. A cry that pushes you brutally
from one world into the other. In a few seconds you go from one
state to another. From one state of soul to another. From one life to
another.

The victim groans.

THE MAN WITH THE CELLO CASE - You hear him? He never shuts up!
Never!
MAN FOR WHOM BIRTH... - And afterwards? Afterwards only anguish.
Stress. Powerlessness. Time. Waiting. Obsessive repetition of
certain gestures. Certain words. Certain feelings. That haunt you to
eternity. Because afterwards you live eternally under the sign of
pain.
THE MAN WITH THE CELLO CASE - OK, OK, I understand. You want
to hit him too, don't you? Go ahead, hit him! It'll calm you down.
Hit!
MAN FOR WHOM BIRTH... (hitting) - Yes, of the pain inflicted on you at
the expulsion from your mother's belly. (He hits.) An expulsion that
we call birth. (He hits.) Something you weren't expecting. And that
you didn't want. (He hits.) And that you never accepted. And that
wounded your whole being…
THE OLD WOMAN OF THE COMPASS - Oh, you again! You again.
I'm sick of it!
THE MAN WITH THE CELLO CASE - Madam, he's still groaning, it's
incredible.
THE OLD WOMAN OF THE COMPASS - It's five hours late! Five hours
late! Everything's ruined. It's the end.
MAN FOR WHOM BIRTH... - Five hours? Just a minute ago I was told it
was only three…
THE OLD WOMAN OF THE COMPASS - Yes, before it was three and
now it's five.
THE MAN WITH THE CELLO CASE (hitting his victim) - Five hours
late! You hear that? Jerk! Five hours! You hear what the lady just
said to you?
MAN FOR WHOM BIRTH... (desperate) - Oh, no! You're not even
listening to me…oh shit… (He leaves.)
THE OLD WOMAN OF THE COMPASS (to MAN FOR WHOM
BIRTH...) - There's a café open on the end of the street…
MAN FOR WHOM BIRTH... - What street?
THE OLD WOMAN OF THE COMPASS - What street! A street… this
street… that one, I don't know… (To THE MAN WITH THE CELLO
CASE, pointing to the sack.) He's not answering.
THE MAN WITH THE CELLO CASE - No. All he does is groan all the
time.
MAN FOR WHOM BIRTH... (lying down) - The most bothersome thing is
that you keep all your memory from your former life. Before your
birth…
THE OLD WOMAN OF THE COMPASS (she leans over the man in the
sack) Answer, mister. This is an old lady talking to you. The
compass isn't showing anything anymore. The hand just turns around
and around. (A moment of silence. To THE MAN WITH THE CELLO
CASE.) Did you gag him maybe? Before you put him in there?
THE MAN WITH THE CELLO CASE - Madam, stop asking stupid
questions. OK?

A cell phone rings in the sack.

THE MAN WITH THE CELLO CASE runs away like a madman.

THE OLD WOMAN OF THE COMPASS - Wait... You're leaving?

Hello?... Shit! Where is it ringing? (To the man bound up in the
sack.) Is it you ringing?... (The man in the sack groans.) It must be
you…Huh. You have a cell phone on you? (Horrified.) What do you
know, they tied him up with his cell phone... That's the last straw!
Truly the last straw!

THE MUNICIPAL CLERK passes.

THE MUNICIPAL CLERK (he drifts in like a ghost and speaks into a
tape-recorder) Five hours and fifteen minutes late… Nothing to be
 done… so, You're praying that you don't go into a panic. The
township advises you to stay in your homes, but you don't have to.
All we want to remind you of is that you must wait with dignity. It's
important. Don't forget that you are human beings. You must wait
with dignity, even if it's bad times. Even if it's the end. Even if it's
eternal night. It is essential to wait with dignity…
THE OLD WOMAN OF THE COMPASS - Sir, Sir, Sir, please, there's
someone here who can't answer his phone… It looks like someone
bound him up… What should I do? I can't answer for him… and it
keeps ringing… (To herself.) Oh my God, what am I making up
now? (To THE MUNICIPAL BUREAUCRAT.) Are you deaf?
To THE MUNICIPAL BUREAUCRAT (he goes, but we still hear him
talking into his tape-recorder) - Dignity! You are requested not to
give in to panic and to keep your dignity… We are not animals… We
are not beasts… We are not the mentally ill… We are not
mongoloids… We are not abortions… We are dignified human
beings…

The cell phone in the sack keeps ringing. We hear deafening sounds in
the distance that drown out the voice of THE MUNICIPAL
BUREAUCRAT.

THE OLD WOMAN OF THE COMPASS runs after him in the direction
of the noise.
THE OLD WOMAN OF THE COMPASS - Mister! Mister! Is there a café
on the corner? Mister? Where are you?
 The phone stops ringing.

PAPARAZZO 2 arrives (with two beers and a sandwich). He takes out

his phone and dials a number.

PAPARAZZO 2 - Hi boss. It's me.

THE VOICE OF THE BOSS - Where are you?
PAPARAZZO 2 - Listen, I found a guy shut up in a sack who's had a good
beating. Does that interest you?
THE VOICE OF THE BOSS - A politician?
PAPARAZZO 2 - No idea.
THE VOICE OF THE BOSS - Is he dead?
PAPARAZZO 2 - No, apparently… not. He's groaning a little. I think he's
tied up.
THE VOICE OF THE BOSS - But what the hell's he doing there?
PAPARAZZO 2 - I have no idea. He's just there. And everyone who
comes by gives him a kick. He groans but he doesn't speak. I think
he's been gagged.
THE VOICE OF THE BOSS - (Grunts)...
PAPARAZZO 2 - Up till now there were 20 something people, several old
ladies among them, that passed by him and kicked him.
THE VOICE OF THE BOSS - And him?
PAPARAZZO 2 - But I told you, he doesn't do anything. He thrashes
around from time to time and groans. That's all. Does it interest
you? I took a couple pictures but….
THE VOICE OF THE BOSS - It's worth a picture only if he gets killed,
when he's killed. But first make sure it's a politician.
PAPARAZZO 2 - Yes, boss.
THE VOICE OF THE BOSS - Later.
PAPARAZZO 2 - Later, boss.

PAPARAZZO 2 hangs up his phone. Looks around, approaches the

man in the sack, takes a picture, shakes him gently.

PAPARAZZO 2 - Sir...
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Did someone hurt you?
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Can I do anything for you?
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Listen, sir, I'm a little embarrassed… I don't know if you
can understand me…
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - What's that mean " mmm"? I can't understand.
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Shit. Listen, if I can be of any assistance to you in any
way, say "mmm" two times.
THE MAN IN THE SACK - Mmm... mmm...
PAPARAZZO 2 - Good! It works…So, you're still alive…
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Good, listen, if I understand, you're tied up and gagged,
right?
THE MAN IN THE SACK - Mmm...
PAPARAZZO 2 - Wait, let me first ask you a question. (A moment.)
Alright? (A moment.) If you're tied up say "mmm" three times.
THE MAN IN THE SACK - Mmm, mmm, mmm.
PAPARAZZO 2 - Alright. This is working. If you are gagged too, say
"mmm" four times.
THE MAN IN THE SACK - Mmm, mmm, mmm, mmm.
PAPARAZZO 2 - Alright! OK. I understand. Good, listen, do you have any
identification on you? If yes, say "mmm" once, if not say "mmm"
twice.
THE MAN IN THE SACK - Mmm... mmm...
PAPARAZZO 2 - Ahh. So, it's a no… Listen, do you want me to call the
police? Yes or no?
THE MAN IN THE SACK - Mmm... mmm...
PAPARAZZO 2 - Are you an assassin? A criminal? Is this something
about settling a score? Is that why you're shut up in there? Yes or
no?
THE MAN IN THE SACK - Mmm... mmm...
PAPARAZZO 2 - Are you thirsty?
THE MAN IN THE SACK - Mmm.
PAPARAZZO 2 - Do you live in town?
THE MAN IN THE SACK - Mmm... mmm...
PAPARAZZO 2 - Ah, you're just passing through.
THE MAN IN THE SACK - Mmm.
PAPARAZZO 2 - Good, I understand. Listen, mister. I'm a journalist. I
don't have the right to intervene no matter what the deal is. I only
provide news. You understand? So, if it's alright with you, I'll ungag
you for 2 seconds and ask your name and profession, but nothing
 more, you understand. And I'll gag you up again afterwards because I
don't have the right to touch anything, alright? Should we give it a
shot? If you agree say "mmm" four times.
THE MAN IN THE SACK - Mmm. Mmm. Mmm. Mmm.
PAPARAZZO 2 - Very good. Wait. (He opens the sack and ungags THE
MAN IN THE SACK.) So, one more time, only your name and
profession… that's all, you hear? Go.
THE MAN IN THE SACK - Professor Pandolfi of the Astronomical
Observatory of Geneva.
PAPARAZZO 2 - Thank you. (He gags him again.) Very well...
THE MAN IN THE SACK - Mmm... mmm... mmm...

The cell phone in the sack rings again.

PAPARAZZO 2 - Is that yours ringing?

THE MAN IN THE SACK - Mmm.
PAPARAZZO 2 - Want me to answer for you?
THE MAN IN THE SACK - Mmm.

The phone keeps ringing.

PAPARAZZO 2 - Where's your cell phone. In the pocket of your shirt or

the pocket of your pants? Say "mmm" once for the shirt and 'mmm'
twice for the pants.
THE MAN IN THE SACK - Mmm.
PAPARAZZO 2 - Alright. Which pocket, right or left? Say "mmm" once
for left and "mmm" twice for right.
THE MAN IN THE SACK - Mmm, mmm, mmm.
PAPARAZZO 2 - What's that? You didn't understand me?
THE MAN IN THE SACK - Mmm.
PAPARAZZO 2 - You have a third pocket in your pants? The back
pocket? Say "mmm" three times if it's in the back pocket.
THE MAN IN THE SACK - Mmm, mmm, mmm.
PAPARAZZO 2 - Alright. Here, don't move, I'm going to frisk you a
little… (He frisks him.) There it is. I've got it. (He takes out a knife,
cuts a little hole in the sack and takes out the cell phone.) Hello?
THE VOICE - Hello
PAPARAZZO 2 - Yes?
THE VOICE - Thank you for answering me.
PAPARAZZO 2 - No problem. Who would you like to speak to?
THE VOICE - To you...
PAPARAZZO 2 - To me?
THE VOICE - You know, I'm blind…
PAPARAZZO 2 - Ah...
THE VOICE - And I pass the time by dialling random numbers…
PAPARAZZO 2 - Oh, I see...
THE VOICE - I'm deeply distressed. I've learned that the sun didn't come
up today.
PAPARAZZO 2 - What?
THE VOICE - Yes, it seems that it's five hours late.
PAPARAZZO 2 - You're crazy, you're…
THE VOICE - No, that's why I'm totally stupefied, I've allowed myself to…
PAPARAZZO 2 - Listen mister, I'm not the owner of this number. And the
owner, is sadly not in any position to answer…
THE MAN IN THE SACK - Mmm...
THE VOICE - But I don't care… I just want to talk to someone…
PAPARAZZO 2 - No sir, that's just not done. I can't speak in the place of
the person who owns this number and…
THE VOICE - Shit, don't hang up, I'm begging you…Look at the sky a
little for me, that's all that I ask…
PAPARAZZO 2 - The sky, the sky… where is it, the sky? Mister, I don't
see any sky, I'm underground, can't see anything from here. Want
me to give you the legitimate owner of this number? I'll give him to
you, but know that he only speaks with one word, and that's "mmm".
THE VOICE - It's not important, give him to me anyway.
PAPARAZZO 2 - Here... (He puts the cell phone to the mouth of THE
MAN IN THE SACK.) Say something, sir.
THE MAN IN THE SACK - Mmm...
THE VOICE - Hello? You know, I'm blind. I pass the time by dialing
numbers, at random… Sometimes I come upon really nice people...
But since yesterday I'm really worried, something is going on. Do
you know what's going on?
THE MAN IN THE SACK - Mmm...
THE VOICE - Pardon?
THE MAN IN THE SACK - Mmm...
THE VOICE - It looks like it's the end of the world. What do you think of
that?
THE MAN IN THE SACK - Mmm!
THE VOICE - I can't understand anything. What does that mean? You
hear me?
THE MAN IN THE SACK - Mmm.
THE VOICE - Listen, if you understand me, say "mmm" twice.
THE MAN IN THE SACK - Mmm... mmm...
THE VOICE - Alright! I understand! I'm blind, you understand? If you've
understood say "mmm" three times.
THE MAN IN THE SACK - Mmm, mmm, mmm.

PAPARAZZO 2 puts the telephone on the head of THE MAN IN THE

SACK and lies down. The conversation between the BLIND MAN
and THE MAN IN THE SACK continues.

SCENE 11

The terrace of a café. At a table, THE MAN FOR WHOM BIRTH

WAS A DOWNFALL and THE WOMAN WITH BARE FEET.

About 5 o'clock in the morning.

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - That's the

difference. You understand? For most of humanity, I know this
now, there is only the afterlife. But for me, the two times have equal
weight in my soul. What I mean is that the life before my birth, the
life I lived in my mother's womb, well… that life is still engraved
upon my being… you understand? In all of my memory… in the
depth of my gestures… (THE WOMAN WITH BARE FEET listens
and cries. From time to time she wipes her nose.) You see? I'm the
 man who has forgotten nothing… This prior life is there, in the
warmth and the fluidity of my dreams… In the intimate nature of my
aging body… And it hurts, hurts, hurts, to know that I was
irrevocably expulsed, for all eternity…

THE WAITER comes.

THE WAITER - Sir...

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Yes?
THE WAITER - The owner asks you to please pay the bill.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - What?
THE WAITER - The owner asks that you pay, if you please, now.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Oh shit, don't
you see that the sun won't ever rise again?
THE WAITER - Yes.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Listen, tell the
owner that in any case all is lost. And that he should stop bothering
me about the bill. Alright?
THE WAITER - Yes, sir.

THE WAITER lies down.

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - What was I

saying?
THE WOMAN WITH BARE FEET (crying) - That it hurts to know you've
been driven out for all eternity.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Yes. Because
before, before, there… in my mother's flesh, my life… was peaceful.
Perfection… ubiquity… Belonging to a world homogenous and
simple, where space and time were replaced by the most subtle
organic laws. Because there was, in the flesh of my mother that
enveloped my flesh, a giant reservoir of calm… It was, you see,
confidence, harmony… Because the only moment of perfect
harmony, we live it but once in the flesh of our mother…

THE WAITER comes back.

THE WAITER - Sir...

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Yes?
THE WAITER - The boss says he knows.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Excuse me?
THE WAITER - He told me to tell you that it doesn't make any difference.
Even if the sun never comes up again, you still have to pay the bill.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - He's crazy! He's
stark raving mad! Listen, don't you see that this is the end? The big
finale? Tell him, tell that motherfucking son-of-a-bitch that we only
have a few minutes left to live, alright? Ten, fifteen, I don't know
exactly how many, but tell him he's got to understand that we all
have only a few more minutes to live… Alright? And that he can
leave me the fuck alone.
THE WAITER - Yes, sir.

THE WAITER lies down.

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - So, where was I?
THE WOMAN WITH BARE FEET (crying) - You were talking about the
only moment of harmony you had in the womb of your mother…
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - But it's not just
me! All of us, you understand, we have, all of us, lived this moment
of harmony, but our problem is that we've all forgotten it… All but
me, of course, because that is precisely what I want to make you
understand, that I have forgotten nothing… It's there, in my mother's
womb that I felt free… Truly free. It's the only form of freedom that
I've ever known… Yes… Oh, my God, and if I hadn't lost my mother
at the age of three… well… if my mother were still alive… if, for
example, you were my mother… well, I'd really like to tell her all
that…

THE WAITER comes back.

THE WAITER - Sir...

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Now what is it?
THE WAITER - The owner says that it's not fair. You ordered two dinners
at 89 francs each, a bottle of Bordeaux for 78 francs, a bottle of water
at 15 francs and now it's time to pay. The sun has nothing to do with
it.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - But it's the end
of the world! Do you understand? It has exploded! The galaxy has
flown the coop! There was an implosion on the sun, don't you listen
to the news?
THE WAITER - Sir, I don't care, I just don't want to lose my job. If it there
was an alert it was just a false alarm…
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - But it's not a
false alarm. It's not even about an alert! It's that there is no more
sun, you understand?
THE WAITER - My boss asks you respectfully to take care of the bill.
That's all. And the sun, we'll soon see.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Tell your boss
that I said we are all already dead. Alright? Tell him like this: The
man who ordered two dinners at 89 francs, one bottle of Bordeaux at
78 francs and one bottle of water at 15 francs, is dead. He is dead
and the dead don't pay. Alright. Tell him all that.
THE WAITER - Alright.
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - So, where were
we?
THE WOMAN WITH BARE FEET (crying) - You were saying that birth
deprived you of all you were beginning to love… That a part of your
identity stayed forever in the empty womb where you had your first
nest…And that this nest seemed sure, so sure, this nest that was the
body of your mother! Sky, nest and bird comprised one single
entity…
THE MAN FOR WHOM BIRTH WAS A DOWNFALL - What? I already
said all that? Madam, are you sure? It's true that I have a very bad
memory of the future, of what I want to say, of what I had the
intention of saying, of that which I haven't said but that will be
said… but not to that extent…
 THE WAITER comes back.

THE WAITER - Sir...

THE MAN FOR WHOM BIRTH WAS A DOWNFALL - Yes?
THE WAITER - I'm sorry, but the owner says that the dead must pay too

Night.
(Or some other way of indicating time passing.)

SCENE 12

THE BUM near the drink machine. He's wearing clean clothes.
About 6 o'clock in the morning.

THE BUM (to invisible passers-by, listening to his music) - My dog has left
me… Yes, ladies and gents, I lived for my dog and he's left me…
Because of a little galactic blackout… Yes, don't give me anything,
ma'am, it's forbidden… and in any case I don't need a thing because
I've lost my dog… No ma'am, no sir, if you please, life is beautiful,
but I, I've lost my dog… my only friend, my one companion… No, I
don't need anything, nothing at all… It's too late, because I've lost my
dog, it's too late… My dog has abandoned me… No, no, no… I've
got my music, I've got my singer, but I don't have my dog anymore…
I was never alone, but that's how it is in the galaxy… When the shit
hits the fan your dog flies the coop… Oh my god… Oh... I've got the
 blues, I'm tired, I've lost my dog…All I want is to be left alone… (To
himself.) But it's impossible with these people… but where are you,
shit! Go away! I'm talking to you… Today I've got the blues, ladies
and gentlemen, I've got the blues… Because I've lost my dog… He's
left me… Yes my only friend has left me…
THE DRINK MACHINE (in a mechanical voice) - Psst... Mister….
THE BUM - He's gone… left… disappeared…
THE DRINK MACHINE - Mister...
THE BUM - What?
THE DRINK MACHINE - Mister… please...
THE BUM (in the direction of THE DRINK MACHINE) - You talking to
me?
THE DRINK MACHINE - Yes, I'm talking to you… but don't panic…
THE BUM - But where are you?
THE DRINK MACHINE - I'm behind you… But please don't panic… I just
want to exchange a few words with you…
THE BUM - Shit! Who are you? I can't see you.
THE DRINK MACHINE - I am... The Drink Machine...
THE BUM - Oh right!
THE DRINK MACHINE - Yes, do you see me now?
THE BUM - You're trying to say… You're this big machine here? This is
you?
THE DRINK MACHINE - Yes, this is me. But stay calm, alright?
THE BUM - Ha! Very good! This… This is the best! I mean this, listen,
you got me. Alright? Bravo! That was a good one, I like it…
THE DRINK MACHINE - I was afraid I'd scare you.
THE BUM - No, mister Drink Machine, I never panic. And if I ever do
panic, I just say "shit". You see what I mean?
THE DRINK MACHINE - Yes.
THE BUM - Good. So, shit!
THE DRINK MACHINE - Thank you for having answered me.
THE BUM - You're welcome, mister Drink Machine. How are you, Mister
Drink Machine?
THE DRINK MACHINE - I don't know. I'm a little panicked.
THE BUM - Oh really! So what's the matter, mister Drink Machine?
THE DRINK MACHINE - This business about the sun imploding and… all
these people going round in circles… not buying any drinks… all this
troubles me a little.
THE BUM - I get it.
THE DRINK MACHINE - You think it's true?
THE BUM - What?
THE DRINK MACHINE - All this about the implosion… I mean, do you
think it's really the end?
THE BUM - Look, listen here… you’re not really asking the right guy.
Because I couldn't care less if it's the end or not.
THE DRINK MACHINE - Would you like something to drink? It's on me.
THE BUM - Oh yes. Why not. What do you have there?
THE DRINK MACHINE - I've got Coke, Fanta, I've still got some
Perrier… Sprite, but it's not the best, I wouldn't recommend it.
THE BUM - And a little bottle of beer? Huh? You got a little bottle of
beer hidden there somewhere?
THE DRINK MACHINE - No, I'm sorry. Truly sorry, I've never carried
beer.
THE BUM - Fine, I'll take a coke then.

THE DRINK MACHINE spits out a Coke. THE BUM opens the bottle
and drinks.

THE BUM - So tell me, you worrying about the human race, huh?
THE DRINK MACHINE - Well, you see, it's hard to explain… It's that I've
gotten used to them… and if it's true that the sun… the implosion and
all that… it would really be a shame if…
THE BUM - Look, it would have ended someday anyway. Why not now?
There will now be endless night. So there. Rest…
THE DRINK MACHINE - It's funny but, you know, it's just that that
scares me, because I don't have any sense of time… It's crazy, but but
I've never made any distinction between one day and another… The
beginning and end of the day, that's always escaped me… In fact, for
me, ordinary days never end. Or, rather, I was unable to seize upon
the moment of change, where one day connected to another… It's the
one thing that escapes me about the human adventure, time… I'd like
to ask you a stupid question… are days that never end very long?
THE BUM - Errrr, yeah…of course days that never end are very long…
THE DRINK MACHINE - Are they longer than days that end extremely
late? Because I've noticed that there are days that never end, and
days that end very late…
THE BUM - Yes, yes… longer… you can see that with the naked eye.
THE DRINK MACHINE - In that case… Well, I'm afraid you won't
believe me, but in that case I believe that days that don't end should
be even longer than days without end…
THE BUM - But yes, I believe you. Why wouldn't I believe you? It's
logical.
THE DRINK MACHINE - You see, that's why I'm really upset right now.
For me, days that never end had almost no beginning.
THE BUM - Interesting.
THE DRINK MACHINE - They were, how should I say, they were simply
there… I woke up, even if I never slept, and they were just there.
You understand?
THE BUM - Yes, of course.
THE DRINK MACHINE (starts to cry, mechanical sounds get even
louder) - They trail before me… in me. Around me… Seconds swell
into minutes… minutes bloat into hours… Hours inflate to become
days…The morning takes just as long as a season… The universe
stayed almost immobile, the wind stopped blowing, no one said
anything anymore, the light got heavier… Little by little until the day
would dilate, things would lose their shape. They melt and flow on
the earth… You understand… Time, was like that for me… and
now?
THE BUM - I assure you that for you nothing will change.
THE DRINK MACHINE - You think?
THE BUM - I'm even certain of it.
THE DRINK MACHINE - I don't know. I don't know. I'm distressed...
Truly desperate. This is the darkest moment of my life. Before, I
watched people pass on the street… time sped up only when
someone bought a drink. Between one purchase and the next, I was
happy…
 THE BUM burps.

THE BUM - Let me interrupt you for a second…Can I have another coke?
THE DRINK MACHINE (spits him another coke out, while crying) - Yes,
that's how it was… The Day that never ended invaded me, penetrated
under my skin, in my head, in my heart, into all the metallic cells of
my matter more or less alive… I too was becoming more and more
limp, lighter and lighter… And the day dragged me along with it, like
a glacier, in an uncertain direction, towards infinity, towards
nothingness, towards hope… This can not be good, these days that
will never end. Because even the gestures of my clients will become
interminable, and as soon as they think something, the words won't
separate anymore from the flow of their thoughts. Their words will
flow into each other and their thoughts will fade, break down,
transform into a sort of spiritual jelly… And I feel all this and a
subtle magma envelopes me with the heat of the absence of the
senses… And now? What will I become? What will happen? Will
there be no more days?
THE BUM - Relax, for you there won't be and big changes.
LE DISTRIBUTEUR - You think?
THE BUM - Yes. Do you like music?

A dog barks somewhere.

(Or another way to mark the time passing.)
 SCENE 13

In the dark.
About seven o'clock in the morning.

PAPARAZZO 1 (on the phone) - She's there, boss.

THE VOICE OF THE BOSS - What?
PAPARAZZO 1 - Quiet, boss. I don't want her to wake up. She's here,
with me.
THE VOICE OF THE BOSS - How's that?
PAPARAZZO 1 - I came down a minute ago, boss, into the yard. There
was still some munchies and some beer, and I couldn't help it, boss, I
was thirsty. And all of a sudden she saw me and she threw herself
into my arms. Boom.
THE VOICE OF THE BOSS - So, where are you?
PAPARAZZO 1 - At her house, boss. I put her to bed in her room and she's
sleeping right now. She was totally exhausted, I think she must've
been walking around town all night. She's most likely confusing me
with someone, but I don't know who. What should I do now, boss?
THE VOICE OF THE BOSS - Forget about it, Mario. You better busy
yourself with the sun instead.
PAPARAZZO 1 - What?
THE VOICE OF THE BOSS - I want a good picture of the sun, you
understand. Get back home, aim your fucking cameras at the horizon
and to the sky. And if this fucking bitch of a sun comes up anyway,
take a picture right away. I want a couple of beautiful pictures of this
bitch of a sun, if it ever comes up, get it? If it ever comes up I'll put
 out a special edition with a beautiful sunrise on the front page. Get
it?
A train passes in the distance.
Quaking of ducks.
(Or another way to show time passing.)

SCENE 14

In the street, near the DRINK MACHINE. The scene is lit by a candle..
THE MAN WITH THE CELLO, THE MAN WITH THE
SAXOPHONE and A WOMAN WITH A FLUTE play their
instruments. They play badly, and are fighting sleep, because they're
dead tired. But they're forcing themselves to keep playing, in spite of
the fact that they're visibly at the end of their strength.

About 8 o'clock in the morning..

THE DRINK MACHINE (after having listened to the music for a long
time, in a metallic voice, with a cough) - Oh, my God… That is
beautiful!

The three musicians stop for a second, look at each other, look
around. Then continue playing.

(Or another way to show time stopping.)

THE END

September 1995 - January 1996