"NUMBER 2 / TEST TITLES" "MY, YOUR, HIS IMAGE" "IMAGE" "SOUND" "SOUND" "HIS IMAGE" "MY, YOUR, HER IMAGE" "There was... a landscape, and we put... a factory in it." "In Marseilles now, and in the building, too... people are always getting fired." "In Rhone-Poulenc now... and in the chemical industry too... women's fingers are being eaten by acid." "There was a factory, and we put... a landscape around it." "NUMBER TWO" "DEPARTURE" "When the delegate makes a speech, he reads the words of others." "But..." "I think it's the paper that gives orders, and that's the trouble." "Do you remember what's-his-name?" "I think... that he's with the State Department in Washington now." "I think he ended up... as the consul for Dakarta." "The last time we saw him was at a demonstration in Toulouse." "The cops came... we didn't see him again." "Here, though... it's simple, because there aren't any what's-their-names, just machines." "What's-his-name... machine, me, relationships to machines, men, women, machines." "What is this place?" "It's a library." "Where are the books?" "There are no books, because it's a printer's." "We print." "We don't print paper." "Paper?" "That's what we call money." "Drafts that are passed between banks." "We call that "pushing paper"." "We don't make paper here, but we print." "Well, is it a printer's?" "No, it's not a printer's, because we read books." "Good." "I don't know... in biology, you know, this is a factory." "You could call it a factory here." "The body is a factory too." "I listen to the machines." "That machine is going faster." "That machine is going slower." "And I am the boss." "But I am a special boss... because I am a worker, too." "And because I am not alone as a worker... we have taken power." "The others..." "I'll tell you about them, they're off working." "I listen to the factory noise." "I was sick for a long time, and that made me think... about the factory." "I'd say that what's wrong here is that... there's too much DNA and not enough RNA." "You don't know what that is, but we learn it in school." "You can't ever use what you learn in school." "It's full of shit, because... the government's closed half of the area schools." "They shove us into school, then you can't even use it." "I'm telling you" " DNA, biology..." "What's this guy talking about, huh?" "About you and your program." "I wanted to tell you that but... talk about literature." "If I did literature, I'd tell you that the government" "The government programs people with methods that are full of holes." "Stepping stones, workers, workers' children..." "They go to school, and after school, to the factory." "It's all the same." "That's what I mean, "full of holes"." "Games with words, you say?" "In democracies, there's something..." "It doesn't surprise me, word games are banished in a certain sense." "We only accept them in society." "We say they are not serious, but "pun" is a word that slides on a thing..." "It is a language, and after all, love taught us language." "It slides, and that shows short-circuits, interferences, and so on." "We use it to cure sickness sometimes, so it is serious." "We say it's complicated... that we talk, we talk." "It's things that are complicated." "But pain is simple." "A machine goes fast, goes slow, my hand does too." "My hand is a machine that directs another machine." "Maybe it's the opposite." "It's a factory here." "In other factories like this it's different." "This is one factory, there are others." "One in Los Angeles, called Fox, Metro." "One in Moscow, called Mosfilm." "One in Algeria, called..." "Algerian National Cinematography." "There is a multinational company that does the programs." "We'll talk about all that... maybe we'll talk about it." "About information, and where the crime is committed." "One day, Georges showed up here..." "I hadn't seen him for 15 years, he saw the machines, and said to me: "Jeannot... you have to do something with these machines."" "I said, "Georges, tell the truth, do you need money?"" ""Yes," he said." "I said, "Good, that's perfect... because I need money too, to pay for these machines."" "We can agree." "Maybe we can't listen, but we can agree." "We can't pull a fast one, but... we can have a quick one." "We went next door to the bus station." "The boss there always says "Good morning"..." "I like that." "He says, "How are you doing, M. Jean?" "Isn't this better than Paris?"" "I say, "Yes."" "Because I have to tell you... that I took forty," "45 years, to enter and leave Paris, the capital." "Capital letters." "To be smaller, sweeter, softer." "They don't leave you alone forty years, eh?" "Half the Hundred Years' War, twice the Spanish civil war, it's serious." "Well, we discussed that with Georges... he said, "I'm going to get the money." I asked, "How?"" "He said, "I don't know..." "I'll shuffle some papers with the banks."" "He says he doesn't like hustling, but he really does." "He has to hustle, not too fast." "He asks, "Are you going to produce?"" "He doesn't realize..." "We discussed it, then went to the airport." "He took the plane to Paris." "He said, "Don't worry, Jean." ""I'll get you 600,000 francs this month." ""It'll happen." "You'll have what you need."" "He took the plane." "A newspaper like Paris Match would have said," ""It was a chilly November morn,... the tires squeaked on the runway."" "But no literature." "Money, commerce, beauty." "DEPARTURE" " While 300,000 kilometers away" "ARRIVAL" " What am I saying?" "At 20,000..." "Maybe 300,000 light years, but 20,000 kilometers away... the Vietcong were thinking about Saigon." "While three meters away, in this factory, you have to produce." "Have to produce, but... what to produce?" "THERE WILL BE" " And to go where?" " No more of that." " Always that." "No more of that." " Always that." " No more of that." " No more of that." " Always that." "Holland's team attacks." "A penalty!" "I think it's Taylor!" "Saigon's name change, the NLF is installed, revolutionary..." "Pure and hard." "Cambodia..." "In Paris, the traditional May Day parade begins." "THIS SCREEN" "At 3 p.m., in the plaza..." "A FILM THAT - thousands of demonstrators have gathered for the traditional May Day parade." "Leaders of the major unions head the parade, with Socialist and Communist delegates." "Two major demands are voiced..." "Union solidarity and the struggle for jobs and salaries." "May Day is the symbol of unity to further the working-class struggle." "MERCHANDISE" "MUSIC" "WORK" "What is the economic context of May Day?" "A people's protest... a will to struggle must go further." "If not, hundreds of thousands of young people... will walk out before the summer." "The crisis will worsen and we wil suffer." "We won't allow that." "May Day is a symbol of struggle and unity..." "And also... of restoring peace." "Unusual to see on May Day..." "Draftees in masks... wearing uniforms." "WORK" "SHIT" "Except for the Communist Revolutionary League, which prefers to join the labor unions' demonstration, the groups of the far left march from the Place de la Republique." "...the most daring spectacle ever seen." "...revolutionaries, anarchists..." "Thousands of demonstrators, whose slogans don't invoke the problems of French society... as much as the victory of the erupting world struggle." "What about this film, Number 2?" "It shows incredible things, ordinary things... shitty things... good things." "Where does that happen?" "Pleasure isn't simple." "I think pain is simple." "Not pleasure." "Unemployment is simple." "Not pleasure." "I think that when unemployment is pleasurable... then fascism comes." "Number 2... isn't a rightist or leftist film, but a before and behind film." "Before... there are children." "Behind there is the government." "The children of the nation." "And the nation..." "You learn it's a factory." "The film is a factory too." "Images are manufactured like on television." "Once upon a time... there was one image." "Once upon a time... two images." "Twice upon a time... there was one sound." "Once upon a time... two sounds." "Number one and number two." ""Number 2"" "Produced by Anne-Marie Mieville and Jean-Luc Godard." "With Sandrine Battistella" "Pierre Oudrey and others." ""Number Two"" "Coming soon on this screen." "This screen is on a wall." "A wall between what and what?" "Soon..." "So, another political film?" "No, not political." "SOON ON Porno!" "No, not porno." "Political." "Is it porno or political?" "Why do you always ask either/or?" "Maybe it's both at once." "Yes, sometimes." "What times?" "We always say," ""Once upon a time..."" "Why not "twice upon a time"?" "This film, for example." "It's called Number 2." "What is it saying?" "Talk, talk..." "We can listen" "We can look!" "Number 2." "AND IT'S DIFFICULT" "It's a film you can look at." "Quietly." "Look at what?" "LIKE THE REVOLUTION" " You don't always need to go far." "There's a lot to see." "And that's where we're working." "Did you ever look at your sex?" "IN THE REVOLUTION" "Did you let on that you looked at it?" "Honestly." "Not like in commercials..." "IN A RICH COUNTRY - or the movies." "For example..." "Do you ever ask yourself if Papa is a factory or a landscape?" "If Mama is a landscape or a factory?" "A factory, I think." "I don't know." "Or maybe a power plant." "It charges and discharges." "And it hurts." "We play music." "DEVOURERS OF SEX Devourers of pleasure." "But why play music?" "To see the unbelievable." "What's that?" "It's what we don't see." "Before being born, I was dead." "REPRODUCING" "REGULATING" "Vanessa, why are you so restless?" "What's wrong?" "Will I have blood between my legs when I'm big?" "Yes." "But you'll have to watch out for guys." "They're not reliable." "EDITING" "Sometimes, I think what Mama and Papa do is pretty... and sometimes I think it's caca." "FACTORY" "Do all little girls have a hole?" "Yes." "Is that where memory comes out?" "Of course." "Where does it go?" "It vanishes." "It vanishes into the landscape..." "There is a factory there now." "Arithmetic, reading" "5 and 3 is 8." "4 and 9 is... 13." "Reading." "We wanted to play Stupid Wolf." "We wanted to play Stupid Wolf but we couldn't." "Who was the stupid wolf?" "It's a wolf who understands nothing about nothing." "He was hungry and lost." "SOLITUDE" "Let's play the Pinelli record?" "Today is his birthday." "Come dance with Mama, Nicolas?" " Let's dance." " No, I'm eating!" "Vanessa!" "Vanessa!" "Anarchy is not a bomb." "It is justice and liberty." "...but the loneliness..." "They killed him for being a comrade." "Look at me." "NUMBER ONE" "She is the one who betrayed him... eight years ago." "And he seemed to know, but it didn't bother him." "Also, he was crazy about her..." "She decided to kill everyone in her way." "She ran out of cowardice." "That was her game..." "But it couldn't last forever." "She tried to knock me off." "In my apartment." "Her gun was empty." "She'd have had to kill me, too." "He loved her." "But she hadn't written to him for six years." "She didn't visit him in prion." "And yet... she had turned him in to the police." "For the reward." "When he got out... he got dressed-up... and went looking for her." "By way of welcome... she plugged five bullets into his belly." "And he... he'd committed two murders." "But he loved her." "What a strange time!" "Watch, Nicolas... that's good paper." "How would you know?" "How?" "Watch." "Burning... burning..." "There's no more left." "There's always some... with the other paper." "What are you?" "Good or bad paper?" "The city was too big, so we left." "Teaching wasn't possible." "The government closed half the area schools." "What's this job?" "You never talk about it." "I'm still at Beyer's." "Always the same?" "No, here it's the factory." "Here too." "What do you say?" "I check mikes." "My voice has a good response curve." "What's that?" "I check texts, too." " In there?" " Yes." "Look here." "I just finished this." ""This recording technique will be used chiefly... for tapings of public figures." "Recordings of interviews produce interesting acoustical effects." "So the person who holds the mike should also speak." "On the air, the listener will hear his own voice."" "I don't get any of this." "I know." "Nicolas!" "Hurry up!" "Vanessa!" "I've had kids." "I never screw them." "It's forbidden." "I agree..." "I screw my wife but it's not working out." ""Thanks, boss."" "LANDSCAPE" "NIGHT" "Shit!" "It's stopped-up again!" "Awful plumbing in these projects." "Can I piss here?" "." "Do you want to tonight?" "I don't know." "We'll see." "Thanks, boss." "What now?" "You know what I meant." "I like your prick." "I don't get it." "You always decide." "Or your job does." "I know." "It pisses me off." "Half the time, I can't even get a hard-on." "Shit." "It's a drag for you." "Sandrine... it's the same for you when you have your period." "You bastard." "It's all got to change." "WORK" " But where does that happen?" "Do you want me to help?" "No, it's okay." "Why don't you ever want me to help?" "I can do it myself." "You don't like us to be together." "That's not it... it's because you're bored." "You just want me to use you." "Listen... there's always other guys." "See how you are?" "Something awful happened." "Sandrine screwed another guy." "She wouldn't say who." "I wanted to rape her." "She let me,... and then I fucked her in the ass." "She screamed." "After, we realized Vanessa was watching." "Family life, maybe that's it." "Whites, 1..." "Colors, 2..." "Can you figure it out?" "No." "I forget what the man said." "It can't be that complicated." "Just set it on "Soak 2"" "Then on "Wash 4"" "After, on "Rinse 7"." "Then you choose... 2A, 2B, 4D, 6E, 8A." "Or 3A, 2B, 2C... 9A, 8E, I don't know." "Do you know or not?" "No, but I'm trying to help." "You don't know." "What I'd like is for you to shut up." "RIVER" "Why do you like it this way?" "I see parts of you that you never see." "What about me?" "I'll describe it." "My mouth will be your eyes." "I don't see." "I do." "You, you, you..." "So, tell me about it." "Listen..." "Your body... we can say that it's a river." "See?" "A river." "The banks of the river are here." "Around it are the shores." "I am in the river and on the shore." "I like that." "We talk about the river's violence flooding the shores." "Never about the shore's violence containing the river." "What's that do for me?" "It makes me accept... your violence." "Can I look too?" "I'm looking at you, Pierre." "Every morning you leave." "You get out." "I'm not criticizing." "But I don't have a job." "When you go..." "I see your ass leaving... going off to work." "And that's a part of you that you never see." "At night, as soon as I see you," "I have to face you." "When you come home," "I see your prick... not your ass." "I think that love would have to be a job for you." "Stop bullshitting." "I mean it." "You know, if we were rich..." "I think you'd pay..." "Well, we're not." "That's right... we're not." "We're not." "CHILE" "I'm looking for work." "I'm looking for work." " Good afternoon, Mrs. Battistella." " Good afternoon, Mrs. Chalumot." "We're having a tenants' meeting about Chile." "Ah no, really, no." "I don't have time for meetings, and I've no interest." "You should, it concerns women." "Not me." "Really, no." "I'll give you this flyer." "Will you read it?" "Okay, but only to make you happy." "Make an effort." "I'll try, but I'm promising nothing." "I'm not interested... and I have other things to do." " Well, try." " Okay, 'bye." ""Every day, we see them in the halls... between their cells and the toilet." "Single file... each holding the shoulder of the one in front." "Blindfolded, not allowed to see... they try to walk erect, proud, despite the obscenities of the guards who enjoy tripping them." "Blindfolded, they relieve themselves rapidly... while their voyeur-guards make comments." "Silenced, they return, touched as they pass by the same soldiers who beat and torture them."" "There are other women." "Me, too..." "Hi, gorgeous." "Hi love, see you." "The other foot, please." "Does Papa touch your breasts when you sleep together?" "Sometimes." "Does he like it, or do you like it?" "Both of us do." "But it's not the same." "Sometimes it hurts." "I like it anyway." "Can I come see... when you sleep together?" "Maybe..." "We'll see." "People..." "Get to know them when they're available... in the wee hours." "I'm fed up!" "You raise hell, we fight, and you take off." "With the problems of Man merely problems of sadness." "Why?" "Because I treated you like a whore?" "I'll say it again:" "Whore!" "Bitch!" "That's enough... let's stop." "Let's calm down and try to think rationally." "Did you hear, dammit?" "Will you listen?" "Will you listen?" "Look at me!" "We can't go on like this, it's time to stop." "Listen to me!" "Listen!" "People..." "Get to know them when they're available... in the wee hours... by a pinball machine..." "With the problems of Man merely problems of sadness." "Here, I found this." "I don't want them." "I can put them in for you." "Listen, Sandrine." "Exactly." "What, "exactly"?" "It's my kitchen, they're my children, it's my ass." "There's too much in it." "Okay, you still have to take a shit." "It's more complicated." "You know, Pierrot?" "I don't know." "It makes me think of filth." "What are you after?" "I've gotta go." "That's it, go." "Your boss is waiting for you." "See how you are?" "It's my pals, not my boss." "They're on strike." "I don't see any difference." "Bye, see you later." "You're not in bed yet?" "Mama, you're sad?" "Papa's being bad." "I'm here." " Can I have some cheese?" " If you want." "Shitting." "Do you know what that is?" "I haven't shit for two weeks." "I get home." "I'm beside myself." "Completely beside myself." "I'm all charged up." "I get home." "I'm beside myself." "Completely beside myself." "I'm all charged up." "So I relieve myself." "My folly is normal." "I show myself..." "I relieve myself." "The kids aren't home?" "I'm sleeping." "Don't you want to touch?" "Go away, Pierrot." "Get out." "When we don't get on with a man... we can leave him." "But what do we do... when it's the State, the social system that rapes us?" "BROTHERHOOD" "Nicolas, come here!" "You wanted to see." "Look... these are the lips." "The lips of sex." "And here is a kind of mouth." "With this mouth... with this mouth... we kiss the lips of sex of the one we love." "Understand?" "When we make love... he puts the mouth of his sex in the lips of my sex." "It's like we're kissing." "Like we're talking." "Is it silent then?" "It's called love." "Love teaches us how to talk." "When it's over... death lays a finger on our lips... and silences us." "Off to school now, kids." "Women do not realize how much men hate them." "She is punished... as an object of hatred, fear and disgust... because of her magical orifices, the mouth and cunt." "Women never commit sexual crimes... even those perpetrated on man's body." "The masculine perversion of violence... is the fundamental factor in women's degradation." "Women will not escape their own impotence... simply because they're given guns... even though they can shoot as well as men." "Men are tired of bearing sexual responsibility alone... and it's time to deliver them." "Women must have rights to their sexual organs..." "The feminine attitude towards violence is inseparable from this problem." "Most women become aware of their ovaries... and their womb... only when something goes wrong," "which almost always happens." "PERHAPS" "What are you doing tonight?" "Don't know." "We'll see." "Babies aren't attracted to objects made to please them... like toys." "They don't care for fairy tales, either." "They seek to become independent of adults... by doing as much as they can alone... by refuing all help... except when absolutely needed." "They are totally absorbed by their work... and acquire a calm and surprising sincerity." "Given the difficulty of conjugal life as a mode of existence, and the even greater difficulty of celibacy... women must learn to view happiness as a victory." "The greatest service she can provide the community... is to be happy." "The death of rebellion and ir- responsibity is what she must achieve." "To become happy... is the only indication of the social metamorphosis that must be effected... if there is to be sense in being a woman." "The depth of rebellion... and irresponsibility." "The sun only shines to guild her skin and hair." "The wind only blows to color her cheeks." "The sea surges to bathe her." "Flowers die happily... so their scent may heighten her appeal." "She is the crowning glory of Creation." "The ocean depths are pillaged... for pearls and coral destined to adorn her." "Baby seals are clubbed, lambs are torn from their mothers." "Millions of moles, muskrats, minks, ermines, foxes, chinchillas, ocelots, linx, and other creatures die prematurely... so that Woman can parade in their furs." "Egrets, ostriches, peacocks... are massacred for their plumes." "Men risk their lives hunting leopards for coats... crocodiles for bags and shoes." "Progressively, Venus asserts herself." "Every night... death enters the factory at eight." "It punches-in at eight." "At a set time." "And everyone is settled." "Then it stops." "That's not what we ought to say... but we can say it anyway." "For 30 years I was a representative... of the CGT union." "After the war... a guy on the central committee got me a job... at LIP in the weapons department." "Yes, because..." "I got along with him... and knew a little about the job." "I'd worked in a similar plant in Zurich." "But the special thing about weapons plants... is that they're isolated from the others." "LIP's was." "In the summer... there are so many flowers that you can't see the plant." "Remember the strike?" "It left me... it left me... feeling stunned." "When I say stunned... it killed me." "The guys I worked with... we made clocks... for anti-tank artillery." "We knew very well that... they'd be used against children and women too... eventually." "After the military war... there is a civil war." "But the guys... they didn't want to talk about that." "There were terrible silences." "Besides... a strike means silence." "Of course, the guys had time... to think about salaries... women... vacations... their work... retirement." "Our retreat from Russia!" "And death." "PERHAPS About that... there's never a question." "ONCE UPON A TIME When we went back to work..." "I purposely..." "TWICE UPON A TIME ...gave up my job." "They didn't understand." "I would've liked to explain." "I don't mind earning my living by death, alright?" "But I won't die in order to live." "I've been around." "I was a great traveler." "Maybe no more than others, but that's another story." "Then I was transferred." "I met... a young guy I told you about." "Not Duclos, I knew him of course." "No, a guy who liked me because..." "I was friends with his father, before the war." "He transferred me... he found me another job." "I was still a representative of the CGT... in the concessions..." "Yes, in the concessions stands for the Gaumont cinemas." "MERCHANDISE" "Nicolas, put on channel 3." "Did you hear me?" "I want to see a Russian film on channel 3." "Put it on." "I don't care if you're not happy." "You little shit, are you giving orders, now?" "Cut it out." "Buy your own TV." "Selling price... buying price..." "I have no savings." "Besides, there's no saving." "LANDSCAPE" "Why are you taking Papa's headphones?" "It's forbidden." "Don't make an issue." "In fact there's no history." "No music." "With no music, no history, how do you do it?" "How do I do it?" "I see the world... like we see the unbelievable." "That's what we don't see." "...bosses in the south... working for the workers at Renault." "I live elsewhere... in the fourth dimension." "With the cartoon..." "E = mc2." "I am tomorrow..." "I see in stereo... in a little one's eye, pianos..." "I see in stereo... in a little one's eye, pianos... who softly sing my music with me... and you, you said nothing." "You never said anything." "Nunca dices nada." "You cry sometimes... as they cry..." "On the velvet of your voice... passing in the night." "I live elsewhere... in the 'X' dimension with cartoons... at a friend's." "I am never, I am always, and I am 'X' of the love formula and of boredom." "You never say anything... like the stars." "You never say anything." "I promised to tell you about my marriage in Mexico." "She was the Consul's daughter." "Had to smuggle diamonds... to finance a strike in Chihuahua." "What've you done with my tie?" "She was a teacher." "Her father didn't know I was a radical." "Marriage was the only way to pull it off..." "We'd have the wedding night." "We didn't even screw..." "She's still angry about it." "I wound up in Germany." "And then, one day" "She was there too." "How?" "I never found out..." "It's her secret." " Are you coming?" " I was Kvasuki's adjunct." "Are you coming?" "He's famous now." "Are you coming or not?" "We admitted the guys to the camp..." "No." "When the trains arrived, I had to spot Party members... it was a red undershirt." " You said that..." " I said yes, and now I say no." "...controlled by the Communists." "Other camps were controlled by convicts." "Afterwards... we don't say we worked in a death camp... that Hitler was the big boss... and that we accepted his salary to live." "I don't think the Communist party came from there... but it did pass by that way." "It will never tell how that happens." "Where that happens." "Where that happened." "Where all that happened." "HISTORY ...see where we came from." "From the International... that represented the world's proletariat." "You had to be a little crazy... to be part of it." "I'll tell you a story." "You know Singapore?" "It seems that Europe has opened... lots of factories there... because labor is cheaper." "I went to Singapore once." "I'd left for Argentina with a buddy." "We were ordered by the International to bring leaflets to workers in Buenos Aires." "We took a boat, the Santa Cruz, I think." "It broke down in Singapore." "They said there'd be a 48-hour layover." "It wasn't our style to stay inactive and useless in a factory land..." "What could we do?" "Then we heard about a strike... in a distant factory." "A unique opportunity to spread the word." "We broke out the leaflets." "They were hidden in the paneling of our luxurious, third-class cabin." "You see... at that time it was dangerous to be a Communist." "Finally, we got them out... but the only way to get to the factory... was to rent a car." "The only car we could rent was a Rolls-Royce." "Let's hear it for the Rolls!" "Off we go with our leaflets." "We'd only gone 5, 6,... maybe 10 kilometers... when we heard the boat's whistle." "The layover was shorter than we'd thought!" "And we had to get right back on board." "We turned around... and took off at top speed, still carrying our leaflets." "We had to get rid of them before we could board..." "There was only one solution... tossing the leaflets out the window." "At least the peasants who were around would see them." "But it was crazy..." "Because our leaflets were in Spanish since they were for Argentina." "And these good people were Javanese and wouldn't understand them." "So you be the judge." "It was stupid, but... that's history, it's not the movies." "She always says that I mix up my memories." "But it's not that way." "I don't mix them up." "Sometimes I look at my prick." "That's not the movies." "The proof..." "We don't have time for movies." "Because in two minutes..." "I told you 40 years of my life." "So movies?" "No way." "I'm dropping movies... and I'll look at my prick." "The time comes... when everything passes by the prick." "Let's go." "This way to the exit, folks." "Spare change!" "Spare change!" "On Sunday, I went to the demonstration... against atomic power." "In the end, there is not one factory and one landscape." "There are two in one." "There is a landscape that we cross... like idiots to punch-in at home." "And a factory... where we can never work while sleeping... in the shade of the trees... because there aren't any." "When you argued with Mama, you said "impossible"." "What's "impossible"?" "It's when we fought about the washing." "She said I don't do it enough." "That's true, it's hard for me..." "To ask if she has dirty panties, it's like asking if her ass is dirty." "It's easier for her." "She does it automatically." "It's a factory for her." "For me, it's home." "Because of that... there is the possible and the impossible." "I'm thinking of Nicolas." "He brought home some porno." "He forgot about it, and I looked at it." "I think of his mother's cunt." "Why do I mind when guys stick their cocks in?" "I'm thinking of love." "To screw and be screwed." "Sometimes, she is the man and I'm the woman." "Since I'm a guy... sometimes it's like I was screwing another guy." "Maybe that's why I like her to stick a finger up my ass." "I ask for it often." "JEALOUSY" "What's wrong?" "Sick of it?" "No, no." "I like it like this." "You don't look like you do." "I don't know..." "I feel eaten-up... by all the "I love you"s I say." "How's your job?" "I'm going to quit." "I don't understand." "Isn't the drug store interesting?" "You complained about not seeing people." "Now you do." "But it goes too fast." "And I can't understand what I'm doing." "I can't keep my eyes on my hands." "Just think about nothing." "Easy to say." "Maybe that's your problem." "Okay, I didn't say a word." "You know?" "I don't know how to do anything." "Well..." "I'm exaggerating." "I know how to manufacture tenderness... how to cook... how to do Nicolas's homework... and I know how to suck a cock." "There, you see?" "It's funny." "There's too much. and yet it's not enough." "There's too much." "Much too much." "In the end, it's not enough." "I felt like I was producing." "But they'd already distributed my products." "And so..." "I was producing at a loss." "And who profited?" "No, not him." "Someone behind him." "Someone between us." "Work." "Shitting, do you know what that is?" "AND IT'S DIFFICULT" " Yes." "I haven't shit for two weeks." "Nicolas." "Eight years ago." "In a sense I shit between my thighs." "Now, everything is clogged." "I had to over-fill myself." "Even with joy." "But now it's too much." "My tissue is cracking." "I feel like everything I say... is shit." "All that I do." "All that should happen in the ass... happens elsewhere." "In the ass... nothing's happening." "I do the cooking." "It goes in, it goes down... but nothing comes out." "I'm becoming shitting and a shit." "Are there many women like that in France?" "SHIT" "PERHAPS" "Suddenly, it's over." "Something happens." "My role ends." "What are we playing at?" "He interprets me." "But he shouldn't." "Because I am the one who understands." "Always men like him to say:" ""Wash the dishes,... go on strike... go home from work... come fuck... let's go on vacation."" "Or worse," "I say it for him." "And him in my place... working." "In my place." "Tell the news about others." "That's a special job." "Especially if you get paid for it." "Letting others tell you news about yourself... is a crime." "Especially if we don't get paid for it." "We go to the movies." "We buy a ticket." "We sell our role as producers in exchange." "You turn on the TV and become an accomplice." "Worse... you become organized around the crime." "We look for news about ourselves... where there's only news about others." "We want others with us, but without the danger." "An animal would never do that." "But we are men and women." "We are superior." "He ends up there... where he shouldn't be... because of that." "I am the one who should be there, and I'm not." "Not yet." "Again and already." "And now me." "Yesterday." "Today." "Children y parents." "Today and tomorrow." "Now and later." "Number one and number two." "And me." "At last in my place." "Number three." "And me at present?" "Between my past and my future." "Between a girl and an old man." "I invent the grammar," "I find the words." "And those She's and He's... who have already invented music." "We say... it is very late." "To be able to do that." "To want to be able to." "Sometimes I ask myself... if my friends from that time... are still living." "If the girls... have a word to say... about that night that held them... that rocked them." ""The lessee should occupy this place in its present state when he takes possession..." "He should use it only... for his personal habitation and that of his family."" ""He should meet all the orders... of the city and the police," "and fulfill his role as head of the family."" ""Fulfill his role as head of the family"" "Hurry up!" "Mama will be home." "When you're dead... will you still be my Papa?" "Of course." "Don't worry." "Do you know what a landscape is?" "Yes." "So, is Papa a factory or a landscape?" "These eyes... that look at you... night and day." "Not just at numbers and hatred, as they say." "These forbidden things... you're creeping towards..." "What have you been doing, Nicolas?" "I'm studying my plan." "And so?" "I see it can't be realized." "There was a factory, and we put a landscape around it." "These eyes... that look at you... night and day." "Not just at numbers and hatred, as they say." "These forbidden things... you're creeping towards..." "And which will be yours... when you close the eyes... of Oppression."