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(RAIN PATTERING)
(CROWD SHOUTING AND CHANTING IN GERMAN)
(SHOUTING AND CHANTING CONTINUE)
(CLATTERING)
♪ 'Cause I'll be leaving in the... ♪
(KNOCKING CONTINUES)
Patricia.
♪ That I'll be leaving in the fairest of the season ♪
♪ Should I stay or should I go ♪
So, I have a patient that is coming in five minutes.
I can ask him to come back later, please.
♪ 'Cause I'll be leaving in the fairest of the season ♪
(CONTINUES SINGING INDISTINCTLY)
♪ Leaving... In the... ♪
This song, it's stuck in my head, and it's so loud.
They're going to try and keep her alive after all.
Markos?
(PATRICIA PANTING QUIETLY)
(LOUD BANG OUTSIDE, CROWD SHOUTING)
(CROWD CHANTING IN GERMAN)
I have to tell Sara to get out of there.
She's the only girl I actually give a damn about.
If I leave without her they may pick her next.
Or Olga
I should warn Olga, too.
Olga's already figured out things.
She saw how they groomed me. (CHUCKLES)
There's more in that building than what you can see.
(PATRICIA PANTING QUIETLY)
They've been underground since the war.
And you think they can hear you now?
(EERIE VOICES WHISPERING INDISTINCTLY)
At the beginning they gave me things. Perfect balance, perfect sleep.
Talking with our minds.
But they took my hair.
They took my urine. They took my eyes!
Now she can see me.
♪ 'Cause I'll be leaving in the fairest of the season ♪
♪ I'll be leaving... ♪
PATRICIA: Mother Markos.
Oh, she wants to get inside of me.
I can feel her.
Oh, I thought I wanted it.
I let it happen.
(GASPING)
(EERIE VOICES LAUGHING, MOANING)
(GRUNTING, PANTING)
(WHIMPERS SOFTLY)
If they find out I was here they won't hesitate.
(DOOR OPENS)
(DOOR OPENS AND CLOSES)
(SPEAKING GERMAN)
(BIRD SQUAWKING)
♪ ♪
- (WHEEZING QUIETLY) - (INDISTINCT WHISPERING)
(WATER SPLASHING GENTLY)
(OBJECTS CLATTERING QUIETLY)
(BANGING, CREAKING)
♪ ♪
(TAKES DEEP BREATH)
♪ ♪
(WHEEZING CONTINUES)
Morning, pastor.
(INDISTINCT VOICES)
♪ ♪
(WHEEZING CONTINUES)
(ANNOUNCEMENT IN GERMAN OVER P.A.)
(CHATTER IN GERMAN)
(TRAIN RUMBLING AND SCREECHING)
(HEAVY RAIN AND QUIET CHATTER)
(OBJECTS RATTLING AND BANGING)
(DISTANT BANGING)
(CREAKING)
(SPEAKING IN GERMAN)
- You're Miss Tanner. - Yes, come in.
(PANTING QUIETLY)
TANNER: Nah?
I tried to call you at your hotel this morning to ask you if you could reschedule.
- Why? - Company business. It's not a good time just today.
But here you are.
(SIGHS)
(TAKING DEEP BREATHS)
(CONTINUES BREATHING DEEPLY)
And six, and seven, and eight..
Elbows up. And one...
Come in, Susie.
Miss Millius and Miss Mandel are the company's apetitas.
And Viva Blanc? I was told she would be here.
(LAUGHS) Oh dear, you have no formal training or references.
Your insistence to audition happened to catch Madame Blanc on a good day.
But you really shouldn't be here at all.
Do you understand? Yeah? Good.
(SPEAKS GERMAN)
I prefer dancing without music. Danke shoen. (LAUGHS)
You can keep time in your head, yes?
(CLEARS THROAT QUIETLY)
(SIGHS)
(LIGHTS BUZZ QUIETLY)
(SHARP EXHALE)
Hypnos. Here we have the line between the elbows. Face forward. Perfect.
And morphos. Here, not so close to the face.
More like you're holding a bird or something.
(PANTING)
(PANTING HEAVILY)
(PANTING CONTINUES IN DISTANCE)
(HEAVY, RAPID PANTING)
♪ ♪
(PANTING)
- (INDISTINCT SPEECH) ..or something. - They did it when we were in morning rehearsal.
They just put her things in shipping boxes.
You don't think she had to go underground, do you?
I don't care what happened. I just wanted a call.
I'm really worried.
Fraulein Bannion. Kommen Sie.
I've just spoken with Madame Blanc.
Well done, Miss Bannion.
(LAUGHS)
I imagine you will need to return home to settle things and make arrangements for moving to Berlin.
No, no, I can start right now.
(LAUGHS) Good!
This is Miss Boutaher, our technical director.
Guten tag.
And this is Miss Vendegast, she acts as house mother.
...for our dancers who reside here.
Where do you come from?
Ohio.
(CHUCKLING)
We operate as sort of a cooperative, as we cannot pay our dancers a lot of money.
We offer dormatory style homes, rent free.
You don't charge anything at all?
Not a mark.
In this company we fully understand the importance of a woman's financial autonomy.
Normally we would be full at this time of year, but we have had a room open.
Yeah. Patricia's.
Do you know Patricia?
SUSIE: Mmm...
No, I heard some girls talking about her in the hall.
(DOOR SLAMS)
Now that you're one of us, I won't be coy. Patricia has just left the company under sad circumstances.
We think she won't be back, so there's room if you want.
We'll send you one of our girls to help you with your luggage.
After lunch? It's alright for you?
Yes! It's all... yes. It's perfect.
(CHUCKLING)
- (THUNDER CRASHES) - (KNOCKING AT DOOR)
- Hello, hi, I'm sorry I'm late. It's the rain. - Hi.
Whenever it rains, everyone jumps in a cab and like an idiot I just let ours go.
Hi, I'm Sara, and we're going to have to take our chances on the street.
Do you have an umbrella?
Oh, when you weren't here by 6, I had to take the room for another night.
God, Susie, I'm sorry, everything was a mess at the company today.
- (LAUGHS) - Why are you smiling?
I'm sorry, um, when you said Berlin a second ago you said everyone in Berlin
and I just thought, that includes me now, I live in Berlin.
Yes, congrats. I heard you were a sensation today.
Have you called your family yet, to tell them?
Miss Blanc came into my audition.
- But she left right after. - She's incredible.
The way she transmits her work, her energy. When it shines on you it's addictive is the word for it.
She's tough. She kept the company alive through the war.
When the right just wanted women to shut off their minds and keep their uteruses open.
There was Blanc.
Thank you. (SPEAKING IN ANOTHER LANGUAGE)
What? Was that French?
(LOUD BANG, RATTLING)
(YELLING IN DISTANCE)
It's a bomb! I can smell it.
There's a bank that way.
Don't you know what's happening here?
The hijackers are negotiating the release of the prisoners tonight.
The RAF. Baader Meinhoff.
They kidnapped an executive, during war, the Nazi SS
an officer, and now he run's the German employer's association.
You don't get how awful that is, do you?
I'm sorry.
I'm just worried about my friend.
(ALARM RINGING)
(PANTING QUIETLY)
(VENDEGAST HUMMING A TUNE)
(CONTINUES HUMMING)
(DOOR OPENS, CLOSES)
Danke shoen.
(QUIET, INDISTINCT CHATTER)
(RADIO STATIC)
(INDISTINCT CHATTER)
(PANTING)
(CHATTER IN GERMAN)
(TRAIN WHIRRING AND RATTLING)
(CHATTER)
(BUZZING, DOOR OPENS)
♪ ♪
(INHALES DEEPLY)
(QUIET CHATTER)
♪ ♪
(KEYS JINGLING)
(BIRDS SQUAWKING AND TWEETING)
(TAKES DEEP BREATH)
Bedrooms are on the second floor.
(INDISTINCT CHATTER AND LAUGHTER)
(GERMAN CHATTER AND MUSIC PLAYING OVER RADIO)
(SIGHS)
Why don't you try speaking to me like you love me? Hm?
For a change?
This is my room. And here... is yours!
- (CHATTER AND LAUGHTER CONTINUE IN OTHER ROOMS) - We're neighbors
You can knock on the wall if you ever need anything.
(GRUNTS QUIETLY)
(DOOR OPENS AND CLOSES)
- Good morning. Good morning. - Hello. - Good morning.
How's your knee? Okay?
(INDISTINCT CHATTER, RAIN IN BACKGROUND)
- Thank you. - (QUIET CHATTER)
We have some happier company business today, we have a new dancer.
This is Susie Bannion, who is joining us from America.
I was privileged to witness her audition yesterday, we are very lucky to have her.
Would you like to say something, Susie?
Um, I don't know.
- Hello - (LAUGHTER)
I feel like I'm not even here yet, I don't know.
You join in whenever you feel ready, but there's no rush. Welcome to our little family.
- I'm Susie. - Hi.
Alright, so for today's rehearsal, I want to pick up exactly where we left off with Volk.
I've spoken with Olga, and she's going to dance Patricia's part.
And, Sara, I'd like you to dance Olga's part.
Is everyone happy with that? Ok, good.
(MID-TEMPO PIANO MUSIC PLAYING)
No, no no, music off please! One moment.
Ok, so, and one and two and three. You pull it from the ground, alright?
Gravity, remember. And everyone from here, please? And Tanner
One and two and three. And one and two and three (CONTINUES COUNTING IN GERMAN)
- This is shit. Such shit. - Ok.
Ok, why don't we all break for ten minutes.
- You can't even be bothered to respect your lies - Miss Ivanova!
No no no no no. It's ok.
Let's face this.
Patricia is gone, Olga. We don't know where. If she's gone into hiding, she wouldn't have told us, would she?
- She was have told someone. - We know she had dealings with people who were interested in targets.
- We know there was another bomb in Kreuzberg last night. - She wouldn't do that.
Shhshhshh. She wanted to live her beliefs. Who doesn't admire that?
There's so much to change in the world. If she wants to live in a cellar filling bottles with petrol, that's her choice.
And who won't be heartbroken if she's shot by police.
(SOBBING): You manipulate everything.
- She didn't trust you because you are hypocrites!
- Will you take Olga to her room, please, Tanner?
No, Miss Tanner!
Call Olga a cab. She's had enough.
And is going to pack her things and get the fuck out of this box of rabies.
(OLGA SOBBING)
(TANNER LAUGHING)
BLANC: I'm sorry about that.
It's a hot thing we do.
Ok, so, who will dance the protagonist?
- Sonja? - I can't. Not yet.
Caroline?
Very well. We'll manage. I suggest that we all take it from the top.
SUSIE: I'll dance.
I know it. It's in the documentary.
I-I've seen it a hundred times at the library.
Sweetheart, we rehearsed this piece
for ten months before we performed it.
- I've seen it in person too. - First do it alone, then.
We don't want to put the others at risk.
The last thing we need
is someone to get kicked in the ribs.
All right?
♪ ♪
(TAKES DEEP BREATH)
Ok, stop. Stop, stop.
Alright. Clear your head. I want you to start over. Have you stretched?
This is no joke.
(QUIET CHATTER IN GERMAN)
- (DOOR OPENS) - (LAUGHTER CONTINUES)
- (LAUGHTER STOPS) - Olga.
(MUFFLED, DISTORTED WHOOSHING)
(MUFFLED, DISTORTED WHISPERING)
- (WHOOSHING, WHISPERING STOP) - (LAUGHTER RESUMES)
(LAUGHTER CONTINUES)
(EXHALES)
(GRUNTING, SNIFFING)
(LAUGHTER ECHOING)
(PANTING)
WOMAN: Olga.
Come over here! Come.
Come to me.
(INDISTINCT VOICE)
(WHIMPERS, SOBS)
(SOBBING, SPEAKING INDISTINCTLY)
Remember you start on one with the music, and if you feel ill at any time, just stop. You start here.
And...
(PIANO MUSIC PLAYS)
(GROANS)
(GASPS, COUGHS)
(PAINED GASPING)
(GRUNTS)
(YELLS, COUGHS)
(GASPS, GRUNTS)
(PAINED GRUNT)
- (CRUNCHING) - (GASPS, SCREAMS)
(PAINED GASPING)
Louder!
(MUSIC VOLUME INCREASES)
Bravo. Bravo, Susie.
(PAINED GASPING)
(GROANS, GASPING)
(PAINED GASPING)
(GASPING WEAKLY)
(SOBBING)
(AGONIZED SCREAMING)
(GASPING)
(BREATHING RHYTHMICALLY)
(PANTING, WHIMPERING)
(SCREAMS, WHIMPERS)
(PAINED SCREAM)
(SCREAMS)
(PAINED GASP)
(WHEEZING)
(BREATHING WEAKLY)
(PANTING, WHIMPERING)
It'll pass.
You're not the first dancer who lost the room.
(INHALES DEEPLY)
I'm not usually dizzy.
An occasional collapse is a vocational hazard I'm afraid.
I... I didn't... I didn't collapse.
You're on the floor and that's not where the dance ends.
I was trying not to throw up in your studio.
Susie, it's fine. It was wonderful.
Sara, could you take her to her room please?
You can rest for the rest of the day.
(QUIET CHATTER)
- How unlikely. - OK, come on girls. Let's go.
And one, and two, and three.
BLANC: And...
(CLEARS THROAT)
(TRICKLING)
(BIRDS CHIRPING)
(PANTING)
No, Susie. We have to study America.
I said no.
WOMAN: Susanna.
(PANTING)
(HUMMING QUIETLY)
♪ ♪
(WHEEZING QUIETLY)
(WHEEZING)
(INHALES DEEPLY)
(GROANS QUIETLY)
(RASPY GROANING)
(GROANING)
(CHUCKLES QUIETLY)
- (GRUNTS) - (WHEEZING WEAKLY)
(CLUNKING)
(WHEEZING WEAKLY)
You don't look better.
Or are you this pale all the time?
I will leave you.
Good night.
The Amish split from the Mennonites in the 17th century.
They were worried the Mennonites were becoming too liberal.
"They", not "we"?
You've left religious thinking behind you then?
Are you not comfortable talking about these things?
I don't know why we are.
It's difficult not to be curious about you.
In two days you've auditioned, been accepted and danced a lead.
How did your journey towards us begin?
I went to New York, to the Martha Graham Center.
I saw you there three times.
I went once by bus and I hitchhiked the other two.
That's risky.
Were you punished?
Yeah.
But I felt I had to see you.
What did it feel today to dance Volk in front of the one who made it?
I know that's a vain question. Let me ask you another.
When you were dancing what did it feel like
inside you, inside your body?
It felt like what I think it must feel like to fuck.
You mean to fuck a man.
No, I... was thinking of an animal.
(CHUCKLES)
You looked...
I'm going to ask Caroline to work on your jumps with you.
Yours are nowhere near good enough yet.
We'll have to build you up.
So that I can dance the protagonist when you perform it.
I need to see you dance at this level time and time again.
I can do it.
Olga made Volk seem like such heavy lifting.
She never understood the heart of Vol.
She lacked conviction.
I'm relieved she's gone.
Thank you for your help with that.
(KNOCKING, DOOR OPENS)
Madame Blanc wants me to dance the protagonist in Volk.
I didn't think it was going to be like this.
She's so kind. (LAUGHS)
That's wonderful.
Are you all right?
I'm fine. I was just...
I was just thinking about what Olga said in rehearsal... about Patricia.
SUSIE: What do you mean?
SARA: She was active in some political groups.
No one knows where she is really, if she's all right.
Was it true... what Olga said?
Yes.
Patricia didn't trust the matrons.
And I never understood why.
If I asked you for a favor tomorrow would you do it?
Yes.
- (GRUNTS) - We might get caught.
Okay.
(HEAVY BREATHING)
(HEAVY BREATHING CONTINUES)
GIRL (WHISPERING): Mother. Mother.
(INAUDIBLE)
Mother. Mother.
WOMAN (WHISPERING): Susanna.
(SCREAM)
(OBJECT SHATTERS)
(INDISTINCT VOICES, PANTING)
(GASPING, SHRIEKING)
(DOG BARKING IN DISTANCE)
(DISTANT BARKING CONTINUES)
(PAPER RUSTLING)
(SIGHS)
- Guten Morgen. - Guten Morgen.
Guten Morgen.
Okay, well, let's meet soon.
- (INDISTINCT CHATTER) - (CHUCKLING)
(CHATTER CONTINUES) Yeah, right across from...
Yeah, no, I'm ready. I'm almost out the door.
- I'll see you soon. - Marketa.
- Marketa, come on. - I'll see you soon.
Come on.
(INDISTINCT CHATTER)
(WHISPERS): Come, come, come.
(DOOR CLOSES)
Are you sure no one's coming?
Oh, I'm sure. Don't worry.
Nobody comes here during the weekend.
(LAUGHING)
Patricia's isn't here.
Try looking for Olga's.
SARA: Olga...
She's not here.
I just need a number.
For her parents.
Or someone who can tell me for sure she is or isn't in Berlin.
How odd.
(RUMMAGING)
(DISTANT LAUGHING)
1961.
(LAUGHING)
1955.
1949.
It's bizarre.
Here kitty, kitty, kitty. Here kitty, kitty, kitty, kitty.
(LAUGHTER)
(LAUGHTER CONTINUES)
(RAUCOUS LAUGHTER)
(LAUGHTER CONTINUES)
There's nothing. Come on.
- (DOOR OPENS) - (GIGGLING)
WOMAN: Sit down.
This morning we turn our instincts inward. Miss Milius, Miss Mandel, can you close the mirrors please?
Miss Marks, no music.
I want to start work on a new piece, a piece about rebirths.
The inevitable pull that they exert, and our efforts to escape them.
We learn it now, but Susie, you will improvise freely at its heart.
I'm interested in your instincts here.
The piece will be called Wieder Offnen, Open Again.
Allez.
One, two, three, four, one, two, three, four...
(COUNTING CONTINUES)
(DISTANT COUNTING)
(MUFFLED BREATHING)
(GASPING)
(PANTING)
(COUNTING CONTINUES)
One.
♪ ♪
(PANTING)
Did something happen?
- Hmm? - To you, during it?
No.
Did you... did you...
Did you feel something there?
- Someone? - (LAUGHS)
Or just something.
What made you say that?
I don't know.
- Am I confusing you? - (CHUCKLING)
No, it's, um...
It's odd... It's the...
The sort of thing Patricia would say. Bizarre.
Come on.
Let's get changed or Sonia will leave without us.
I've got a dress you can wear.
Double caposhi.
(SINGING IN GERMAN)
(GIGGLING AND SHOUTING)
♪ ♪
Susie!
(INDISTINCT CHATTER AND LAUGHTER)
Oh, Susie!
(INDISTINCT CHATTER AND LAUGHTER)
(PANTING)
(SHUDDERING BREATHS)
(OBJECT CLATTERS)
(DISTORTED, ECHOING BREATHS)
(PANTS, GRUNTS)
(GASPING)
(DISTORTED VOICES)
Is it true?
(SHOUTING)
- (PANTING, GASPING) - (SCREAMING)
(DISTORTED SHOUT)
(DISTORTED, GRUFF GROAN)
(DISTORTED SCREAMS AND ECHOING VOICES)
SARA (ECHOING): Is it true?
I know who I am!
(DANCERS MURMURING QUIETLY)
It's all right. It's OK.
Is she all right?
It's just a nightmare.
Markos company special.
I'm surprised it took this long.
Hey, let me know if she needs a Valium.
(GROANS)
(LAUGHING)
She's right. I dreamt of hairballs and toilets
for three weeks before I got a decent night of sleep here.
Move over.
I've only ever slept in bed with my sister.
SARA: We're sisters now.
♪ ♪
(BUBBLING)
(TEAKETTLE WHISTLING)
♪ ♪
WOMAN: Herr Klemperer?
(TYPEWRITER CLACKING AND DINGING)
And one, and two, and three, and one, and two, and three...
(COUNTING CONTINUES)
(INDISTINCT CHATTER)
Do you want to do the jumps?
OK
And one, and two, and three, and one, and two, and three
No, elbows higher.
All right, one moment.
Susie, part of the jump is muscle, and that will develop as you condition
but you seem to have an aversion to them and I don't quite see why.
- Are you so happy to be stuck to the earth? - (LAUGHS)
There's a yield before the push which I don't think you're quite understanding.
Caroline. Could you come and do a series for us, please?
Thank you.
And now you.
♪ ♪
What I really want is to be on the floor right now anyway.
Well, of course. That's because you're mistaking physical weakness with artistic preference.
And because you're tired.
At this point, the jumps are opposing the pull of the structure but...
It's soon for that, don't you think?
The floor work is-is keeping the other dancers pushed down...
So this-this could echo that.
...on-on a slightly higher point of elevation.
If I stay close to the ground now, and go straight into the jumps where you have them later
Then that's more to the point.
The resistance is more emphatic.
Right?
I don't know how aware you are
of what times we lived through here 40 years ago.
Out of which this piece was made.
We learned a great cost through those years, the value of the balance of things.
Every arrow that flies feels the pull of the earth.
But we must aim upwards.
We need to get you in the air.
(CHATTER)
Leave her, leave her, leave her!
(CHOKING, SHUDDERING)
(GASPING)
(SOBBING)
(CHUCKLES SOFTLY)
I heard it. I hope...
I'm looking for a dancer from your company.
Who are you looking for?
You are Sara.
Yes. May I help you?
I am a friend from Patricia.
I don't know what to make of any of this.
I know the kind of thing she was involved with, but I can't see how any of this woud be happening inside the company.
Well, she describes something like a revolutionary organization and a crisis of leadership.
With Markos very ill...
I live there. I have friends there. I don't see any evidence of this at all.
No one has ever approached me or any of the other girls as far as I know.
Well, read this.
What is this?
This is Patricia's diary.
Mother Markos, mother Meinhof
The dance rehearsal, polital action
these two areas in Patricia's life were of equal importance.
This is how transformation happens.
How delusion is made.
Delusions are lies that tell the truth.
- This says "witches." - Mmm.
Maybe Patricia's fantasies about witches
they are her way of processing some other form of intrigue.
The company's a family. There's a lot of love there.
Love and manipulations, they share houses very often. They're frequent bedfellows.
Sorry, I don't see this.
Eat.
(QUIET CHATTER)
Only...
maybe the police, they missed something.
Our Patricia, she did spoke of whole hidden areas of the building.
Actual rooms that are secret.
I don't want to be disrespectful. I don't.
- But you're asking me and I'm telling you. - Oh, please.
It's a dance company. We're not talking about anything else.
Sara. Please, only look closer.
Thank you for caring for Patricia
but I hope you don't come again.
(DOOR OPENS)
(DOOR CLOSES)
- Good night. - Good night.
Sara, hurry up.
I'm tired. I need the bathroom.
- Good night, Doll. - Good night.
(MUSIC PLAYING, LAUGHTER IN DISTANCE)
WOMAN: She hasn't come back yet?
Maybe she's seeing somebody.
(INDISTINCT CHATTER, LAUGHTER)
Part of the issue always is not being able to see your body in the space.
One angle in one mirror or on film is not enough.
Movement is never mute. It is a language.
It's a series of energetic shapes written in the air like words forming sentences.
Like poems.
Like prayers.
Spells?
When you jump it's not the height but the space beneath you that matters.
Every leap into the air must be a coup de foudre.
- I don't understand. - A strike of lightning.
A bolt of love, in fact.
That's beautiful.
There are two things that dance can never be again: beautiful and cheerful.
Today we need to break the nose of every beautiful thing.
And if you are going to be a dancer you must learn French.
When you dance the dance of another, you make yourself in the image of its creator.
You empty yourself so that her work can live within you.
Do you understand?
Yeah.
You're in a company now. You have to find your right place. You have to decide what you want to be for this company.
Is it the head? The spine? The sex? The heart?
The hands.
I want to be this company's hands.
♪ ♪
Higher... Higher... Higher...
Higher... Higher! Higher!
- (GRUNTING, PANTING) - Higher.
Higher! Higher!
Higher!
Higher. Higher! Higher!
Higher! Higher! Higher!
Sometimes I only need to be told twice.
(CHUCKLES SOFTLY)
(FRANTIC CHATTER IN GERMAN)
(DISTANT CLATTERING, FOOTSTEPS)
(DISTANT FOOTSTEPS, MUFFLED CHATTER)
(DISTANT, MUFFLED CHATTER)
(FOOTSTEPS)
55, 56, 57, 58, 59-
(DISTANT WHIMPER)
60, 61, 62, 63.
65, 64, 63, 62.
23, 22, 21.
10, 9, 8, 7, 6...
Two, one.
(FIRM TAP)
(HOLLOW THUD)
(CLUNKING)
♪ ♪
(RATTLING)
(CREAKING)
♪ ♪
(GASPS SOFTLY)
(QUIET CREAKING)
(SHOUT, GROAN NEARBY)
(YELLING NEARBY)
(DISTORTED SCREAMS)
(SCREAMING CONTINUES, MUFFLED)
(CHANTING)
(CHANTING CONTINUES)
Patricia wrote about three mothers, lost in time, predating all Christian invention.
Pre-god, pre-devil. Mother Tenebrarum, Mother Lachrymarum
and Mother Suspiriorum.
Darkness, Tears and Sighs.
I saw images of that last night in porcelain and these very fine things.
You can tell they have money.
Patricia said that Markos claims to be one of the three.
But there is disent amongst them. She wrote about Markosites and Blancites.
An internal division.
Madame Blanc's involved in this?
Do they believe they're witches?
You can give someone your delusion, Sara.
That's religion.
That was the Reich.
The Reich had these things.
Insignia. Esoteric ritual.
These mothers, yeah, they could be codenames for founding members with metaphoric histories, I don't know.
But I do know you're living with dangerous people.
- Patricia could still be in- - (DOOR OPENS)
...in there.
They could be holding her in the building.
Well, I can not promise that your searches will come back to inspect a cabinet full of porcelain
after all that has happened. But we can try.
And in the meantime you must take care of yourself. Perhaps you should leave.
You have somewhere you can go?
I'll figure it out.
And I think you should put this back.
Or better still, you leave it here.
Not good for them to know that you have it.
(RATTLING)
♪ ♪
(DOGS BARKING, DISTANT CHATTER)
(WHISTLES BLOWING IN DISTANCE)
- (WHISTLING) - (SHOUTING IN GERMAN)
(DOG BARKING)
(QUIET CHATTER)
(SPEAKING GERMAN)
(DOOR OPENS)
(QUIET, ECHOING WHEEZING)
(WHEEZING CONTINUES)
Is anyone among you sick? Let him call for the elders of the church, and let them pray over him
anointing him with oil in the name of the Lord.
And the prayer of faith shall save him that is sick.
And the Lord shall raise him up. And if he has committed sins-
(WHISPERS): My daughter.
...they shall be forgiven him.
My last one.
She's my sin... She's what I smear on the world.
(WHEEZING)
You're making some kind of deal with them.
I don't know what you're talking about.
How can you know what they're going to ask you in return?
Sara, whatever you have in your mind, nothing is wrong.
You just haven't seen the bill yet.
Nothing's wrong.
♪ ♪
(QUIET, INDISTINCT CHATTER)
What's the matter with you?
Huh?
You don't be so afraid about the white, Susie.
They need to see you from the very back row.
Where is Sara?
She came early in the morning
did her makeup and left.
(QUIET CHATTER IN GERMAN)
(CHORUS VOCALIZING)
(CHORUS SINGING IN GERMAN)
(QUIET, INDISTINCT CHATTER)
(BELL RINGING)
Girls, Vier Minuten!
Four minutes!
Vier Minuten!
(QUIET CHATTER CONTINUES)
(DOOR CREAKING OPEN)
(PANTING)
(QUIET CHATTER)
(DANCERS WHISPERING INDISTINCTLY)
PATRICIA (WHISPERS): Sara. Sara.
Patricia. Patricia.
Patricia, I knew it! Sorry it took me so long. I'm so sorry.
- What did they do to you? - They would come here every day.
It's all over now. I'll get you out.
The performance is starting upstairs. Everyone will be looking the other way.
Get up. Get up.
Patricia!
Patricia, get up!
Get up.
(SCREAMS)
Sara!
(WHEEZING)
- (BELL RINGING) - (QUIET CHATTER)
(RINGING STOPS)
(CHANTING)
(CHANTING): Markos! Markos! Markos! Markos!
(QUIET CHATTER)
(WHISPERING) Marketa, where is Sara?
(WHISPERING) Sara!
- I don't know. - Is she upstairs?
No. I looked.
TANNER: Just dance as if she's with you.
(GRUNTING, PANTING)
(WHEEZING NEARBY)
Sara!
(SARA GASPING)
Go.
(SPEAKING GERMAN)
(DISTANT SQUEALING)
(SHUDDERING BREATHS)
♪ ♪
(RAPID PANTING)
(AGONIZED SCREAMING)
♪ ♪
(SCREAMS)
(RHYTHMIC BREATHING)
(SCREAMING)
No.
Sara, lie still.
- No! (GASPING) - Sara.
Please!
(SCREAMS)
No! No!
♪ ♪
(RHYTHMIC BREATHING)
(RHYTHMIC BREATHING CONTINUES)
♪ ♪
(RHYTHMIC BREATHING CONTINUES)
♪ ♪
(RHYTHMIC BREATHING CONTINUES)
(RHYTHMIC GRUNTING)
(RHYTHMIC BREATHING AND GRUNTING)
♪ ♪
(RHYTHMIC BREATHING CONTINUES)
(PANTING)
(SCREAMING)
- (MUSIC STOPS) - (PEOPLE GASPING)
(SCREAMING)
(SARA PANTING, WHEEZING)
(QUIET CHATTER)
(SARA SCREAMS)
(SPEAKS GERMAN)
(WHEEZING, GASPING)
(CHATTER IN GERMAN)
(SARA CONTINUES WHEEZING AND GASPING)
(GASPING QUIETLY)
♪ ♪
- (GASPS) - (WIND WHISTLING)
(VOICES SCREAMING, WHISPERING INDISTINCTLY)
(DOOR OPENS)
SUSIE (TELEPATHICALLY): I'm sorry I went off book.
MADAME BLANC (TELEPATHICALLY): This can't happen again. You're only just starting to understand, Susie.
We brought Sara back upstairs to try to complete the performance in time.
- But then you derailed it. - Did I hurt those people?
Not this time. They saw her dance.
That's all.
It's all a mess, isn't it? The one out there...
(SPOKEN ALOUD): The one in here.
The one that's coming.
Why is everyone
so ready to think the worst is over?
(TELEPATHICALLY): I could explain everything to you.
I think it would be wrong, though.
(GASPS QUIETLY)
One, two, three, four... (COUNTING CONTINUES)
♪ ♪
Herr Doktor.
♪ ♪
(LAUGHTER, INDISTINCT CHATTER)
(CHEERING, APPLAUSE, INDISTINCT CHATTER)
(SPEAKING FRENCH)
(PANTING)
(GRUNTING)
♪ ♪
(GRUNTS)
(QUIET, INDISTINCT CHATTER)
(WAITER SPEAKING FRENCH)
(SONG PLAYING IN FRENCH)
(FESTIVE CHATTER)
(SONG CONTINUES PLAYING IN FRENCH)
(PANTING QUIETLY)
♪ ♪
(CHUCKLING)
(ANKE WHIMPERS)
♪ ♪
(SINGING IN GERMAN)
(SINGING CONTINUES)
(LAUGHTER)
♪ ♪
(PANTING QUIETLY)
(GASPING)
(SHRIEKING)
(GROWLING, SHRIEKING)
(SHRIEKING LAUGHTER)
(ECHOING FOOTSTEPS)
(DISTORTED, DISTANT SCREAMS)
♪ ♪
(HEAVY BREATHING)
(DISTORTED, DISTANT SCREAMS CONTINUE)
♪ ♪
(RHYTHMIC BREATHING)
(WHEEZING, RHYTHMIC BREATHING)
(WHIMPERING)
(SOBBING, MOANING)
(GASPING)
(PAINED WHIMPERING)
(KLEMPERER WHIMPERING)
I'm ready, Madame.
(CHORAL SINGING)
(SOBBING)
You look afraid.
(LAUGHS)
She's afraid for you.
(CHORAL SINGING CONTINUES)
(HISSING, CHATTERING)
There will be nothing of you left inside.
Only space... for me.
I came here for this.
You've all waited long enough.
It is happening.
It is happening!
(SINGING)
(RHYTHMIC GRUNTING AND MOANING CONTINUE)
(SHRIEKS)
You come here.
Hmm?
You must have no doubts, Susie. If you do, I can take you back. I can take all of this from your head.
You can forget everything.
I want this to be pure.
We all know what you want.
(STRAINING GRUNT)
This isn't for vanity. This isn't
art!
There's something wrong here. Can you not feel it? This isn't right. We have to stop this now.
We've been on two sides of this for too long now.
(CHANTING)
(SQUISHING, CRUNCHING)
(WHEEZING)
If you accept me
you must put down the woman who bore you.
Think of that false mother now.
(LABORED BREATHING)
Reject her.
Expel her.
You have the only mother you need here. Death to any other mother. Say it.
(SCREAMING)
Death to any other mother.
(WHIMPERING)
(SHRIEKING CONTINUES)
(TAKING DEEP BREATHS)
Who are you?
For whom were you anointed, which of the three mothers?
Mother death.
(WHEEZING, WHIMPERING)
Mother Suspiriorum.
I am she.
(WHEEZING, WHIMPERING)
(CHOKING, GASPING)
(MATRONS SHRIEKING)
(DEEP GROWL)
Markos.
(SHRIEKING CONTINUES)
Markos!
(MOANS SOFTLY)
(GROANING)
(GASPING, SOBBING)
(PANTING)
Markos!
Markos.
(PANTING)
Death to any other mother.
Markos.
Markos!
♪ Unmade ♪
♪ I swear that there's nothing ♪
(DISTORTED VOICES HISSING AND SCREAMING)
♪ I swear there's nothing... ♪
I am the mother.
(DISTORTED VOICES SCREAMING AND GROANING)
♪ ♪
- What do you ask? - To die.
Mother, we're so tired.
(SOBBING, MOANING)
- What do you ask? - To die.
I want to die.
Sweet girl.
What do you ask?
Tired.
♪ Come under my wings ♪
- ♪ Under my wings. ♪ - SUSIE: Yes.
Dance. Dance. Keep dancing.
It's beautiful.
(ECHOING DEEP BREATHS)
(ECHOING GASPS)
(GASPING)
(QUIET CHATTER IN GERMAN)
Good. Good.
(SIGHS)
(SINGING IN GERMAN)
(GASPING, PANTING)
(GRUNTING)
(WHIMPERING)
(BIRDS CAWING)
(PANTING)
My god, what a night.
I definitely drank too much wine.
(SPEAKING FRENCH)
(CHATTER CONTINUES IN FRENCH)
Guten Morgen.
Good morning.
- (GRUNTING) - (HUMMING A TUNE)
(WHIMPERING)
(GASPING WEAKLY)
(GASPS, GRUNTS)
(QUIET CHATTER IN DISTANCE)
(QUIET, SHUDDERING BREATHS)
♪ ♪
(DOOR OPENS)
I regret what my daughters did to you.
I wasn't in a position to prevent it.
I believe you deserve to know the truth.
Your wife did try to make it south
to Teplice.
She was apprehended by border guards
in the woods just outside of Glashütte.
She was then taken to Theresienstadt camp.
She lived there for 20 days.
On the 11th of November, 1943
the commandant of the camp, a man named Burger...
ordered all 40,000 detained there
stand outside in the cold for a census.
Hours and hours passed.
Some hundreds died of exposure.
Your wife had two women with her as she died.
Women she had befriended
who made her feel that she was not alone.
Her final thoughts were of her birthday when you took her to a concert as a surprise.
Chopin and Brahms.
(WHIMPERING, SOBBING)
It was the first time you held her hand.
She was cold when she died.
But she wasn't afraid.
She was thinking only of you.
(KLEMPERER SOBBING SOFTLY)
Of Anke Meier...
...of Patricia Hingle...
...of Sara Simms...
...of Susanna Bannion...
of all the women of your undoing...
...every memory will vanish.
They will melt away in the sun
and be gone.
(GASPING, CHOKING)
(DISH SHATTERS)
Herr Doctor.
(TAKING DEEP BREATHS)
- Ja? - Ja.
(TRAIN APPROACHING)
(QUIET, INDISTINCT CHATTER)
(CHATTER CONTINUES IN GERMAN)
♪ ♪
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