Paparazzi or Chronicle of An Aborted Sunrise: Matéi Visniec
Paparazzi or Chronicle of An Aborted Sunrise: Matéi Visniec
Paparazzi or Chronicle of An Aborted Sunrise: Matéi Visniec
PAPARAZZI
or
CHRONICLE OF AN ABORTED SUNRISE
© Matéi Visniec
10, rue Watteau 75013 Paris - France
Tel. Fax. : 0033 - (0)1 47 07 31 89 E-mail : visniec@yahoo.fr
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
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.
SCENE 2
THE MAN WITH THE CELLO CASE and THE MAN WITH THE
SAXOPHONE CASE, on a deserted street. They seem a little
misplaced.
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 - 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.
SCENE 3
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
In the distance we hear vague music (it's a saxophone and a cello) and
from time to time, voices, cries and barking.
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 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 hangs up, waits a couple
seconds, guzzles some more champagne directly from the bottle and
goes off.
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.
She leaves.
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.
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 hangs up. She stays near the
telephone booth.
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.
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 (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!
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.
THE MAN WITH THE CELLO CASE (a few more kicks) - You gonna
shut up. Huh? Shit! You shutting up or what?
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!
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.
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 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?
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 - 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...
SCENE 11
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?
In the dark.
About seven o'clock in the morning.
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.
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.