Rehearsals for War (1998) - full transcript

Not the end result,

but being aware
of what our condition is, right?

We should really keep in mind
what our situation is...

a hospital, a closed space.

It might be good for us to focus
on that, so we don't lose it...

REHEARSALS FOR WAR

Let's form... a circle.

Concentrate on your joints,
not your muscles.

We're going to do something easy.

- How did it go?
- Fine.

We started to get acquainted,
and warm up.



Vittorio's coming tomorrow.

- Luisella?
- No problem.

She was real cool.
She hit it off with everybody.

You hungry?
I'll make some spaghetti.

I'm going to shower first.

Vittorio!

- Leo!
- Let's go.

Right, let's go...

- Remember Rosario?
- Of course.

- How're you feeling?
- Much better.

You're Luisella.

Giovanna.

Vincenzo.

- Francesca, nice to meet you.
- Antonello.



- I saw one of your plays years ago.
- You did?

- Talk about...
- What are you doing now?

I'm teaching, and this character
just roped me in!

My God, it's fabulous!

- You're really doing it?
- You kidding? To go to Sarajevo?

Leo's incredible. When you meet him,
you say to yourself,

"Here's a guy who's really serious
about doing theater"!

- I needed something like this.
- Didn't you have other work?

No.

I have to do two more shots
for a film I'm in.

Then I have a gig for the radio,
because they really pay well.

I can work it all in.
What about you?

I'm rehearsing with Turco,
"Taming of the Shrew".

Shakespeare! That's great!
What role are you doing?

It's a minor role.
It's good though, it pays well.

I'm going upstairs.

- You coming to the rehearsals?
- Sure, if I can.

He's not in here...

Let's look next door.

Here he is.

Can I interrupt for a second?

A beautiful girl like you?
Whenever you like.

My friend's a director.
He's preparing a play for Sarajevo.

He'd like the two theater
managers there to come here.

But they'll need press cards
for the U.N. plane.

You think Foreign News could use an
article... on theater in Sarajevo?

We've done a full page
with that American writer

who did a play in Sarajevo.

- Susan Sontag.
- That's right.

We couldn't use another article
about the theater.

The press is full of these
eye-witness accounts.

It's hard to find something new.
Who are these two people?

He's a director
and she organizes things.

Before the war, they participated
in international festivals.

They've been here in Italy, too.

- Are they okay?
- In what way?

Have they been injured?
Was the theater bombed?

We need something
that can grab our readers.

- That's fine. No problem. Thanks.
- Look, I'm sorry, but you know...

No point suggesting things
they're going to turn down.

Let's try Entertainment.

- Loser!
- Don't forget what just happened!

We got rid of a ham!
We got rid of a ham!

- I gave him his start!
- What happened?

I'm sorry,
this is your first day here.

No, it's not that, I'm worried.
We only have a few rehearsals.

Look, it's all under control!
I'll take care of this.

I want every young actor
in Naples here tomorrow!

- No problem.
- Readings to text. To text!

- I hope you can be here tomorrow.
- Sure, if you like.

We'll choose this guy together.
I want you to be satisfied!

Sara, can you come up to Wardrobe?

Riccardo, do whatever you like!

I don't ever want
to see that guy in here again!

Come off it!

- I said, come off it!
- He can't treat me like that!

- He does that to everybody.
- But not to me.

- Especially not for this crap.
- Know what he did the other day?

He pointed a red spot
on the shrew.

He said when Kate gets mad,
she's got to be lit in red.

That's bad! You know how much
this thing's costing?

You've chopped down
a whole forest

just to build all those
footboards, ceilings, walls!

He's never had one real rehearsal
with the actors!

That's true.

The only thing
he cares about is the packaging.

Besides, all the others act
like it's not their problem.

What's the point?

Would you be willing to work
for practically no pay?

And come with you?

Sure, I'd be willing to.
Except that at this point

it wouldn't be fair to the others.

We're really just beginning,
we're doing improvisations.

- You can play the Herald.
- Isn't that your role?

I've decided to concentrate
on directing and do a smaller part.

Let me have the script.

What about you and Luisella...

Don't worry. That's no problem.

- Then we come back, right?
- We will...

Who is it?

Peace! Peace!

Father!
My father never touched me!

My father never saw me naked!
Father!

Where the hell were you? Father!

- Please, don't let Dad see them.
- Thank you.

Heard you came back
to work 'round here.

- That's right.
- What're you doin'?

We're preparing a play
to take to Yugoslavia.

Jesus, where the war's on?
Take him, he's a gun freak.

- Let's have a beer.
- I've got a rehearsal now.

I wanted to tell ya.
Couple of days ago

that painter pal of yours
showed up, a weirdo.

A liter of gas is 1.800 lire.
I'd have blown 'em sky high.

Then they call you a racist,
they haul you into court...

- You had some changes in here.
- Like it?

Gave it a coat of paint
to make it look nice.

I like this green.

- It's a nice shade.
- Luciana!

- Can we have two beers?
- The captain's here.

Now we'll see who's in charge,
him, me or you. Wait a minute.

He thinks he's the Pope, stretches
out on that bed, gives orders...

Why doesn't he hire a maid?
Like I'm his slave...

This one's five years old,
they're getting me a musical one.

The chronograph
that plays a little tune.

If your friend doesn't mind...

Your daughter's goin' out
lookin' like a slut.

I told ya, I don't give
a damn about this woman stuff!

See what's goin' down here?

Don't get her riled up, okay?
Come home early.

- How old is she?
- Thirteen. Beautiful, right?

Carmela...
I got somethin' for ya.

- Like it?
- Super.

These who grew from the same seed
together are sown upon the ground

and in mad jealousy
their quarrel reached its end.

Now their enmity is over,
and their lives mingle

where a pool of gore
soaks into the earth.

Now they are truly of one blood.

Eteocles, in recognition
of his devotion to this city,

shall be interred
in his own native soil.

Well?

Don't get mad at me,
rehearsals start on time.

- You sleep in the morning?
- Yeah, right...

Well, I work. You think I could
feed my wife and son

with the miserable pay
we get at the theater?

You asked me to get us a generator.
How are we going to pay for it?

We need more money.

If I have to get a costume,
or something...

Any little thing, like a map...

Same old song every time.

You all knew the situation, though.

All of this
affects our creativity.

I know, but there's
just no money now.

We can't do everything ourselves,
it keeps throwing us off.

We need someone
who can take care of the stage.

We can't hire anyone else,
we're flat broke.

- Talk to Riccardo Donati.
- He's at the National Theater!

What difference does that make?

We'll do that tomorrow.

- What time do we start tomorrow?
- Five o'clock, as usual.

Look, I did everything I could.
I gave you a rehearsal space.

You write them up as shows,
and take the subsidies.

But we have overhead
and management costs.

Are you kidding?

The phone's disconnected
and we do the cleaning up!

You guys don't realize, we get paid
for renting the downstairs hall.

And we're loaded down with debts!

Where do we find the money?
How can we do theater?

Go see Franco Turco.

The only way to get any money
is from the National Theaters.

It's the only possible way!

Do you have any shots
of the Sarajevo theater?

- No, I'll have them send some.
- Maybe we can adapt things...

do some work on the space itself,
like where you're working.

We can reverse the point of view,
make use of the balcony, the stairs,

the backstage door
and you've got the sets.

- Good idea.
- I'll come down and have a look.

- You sure it's no problem?
- God no, I get so bored here.

Some water, here, what...

Come, Kate, and wash,
and welcome heartily.

You whoreson villain!
Will you let it fall?

- 'Twas a fault unwilling.
- Oh, no?

A whoreson, beetle-headed,
flap-ear'd knave!

Come, Kate, sit down.

I know you have a stomach.
What's this? Mutton?

Who brought it? 'Tis burnt!

And so is all the meat!
What dogs are these?

How durst you villains bring it
from the dresser?

Why do you do it?

How durst you serve it thus to me
that love it not?

The meat was well,
if you were so contented.

For God's sake, we can't work
if you keep stopping like this!

What are you thinking about?

Why...

Why he's doing this,
maybe he doesn't like me...

What do we care?

Well, of course we care.
I think she loves him...

- and is trying to seduce him.
- Seduce him?

- He married her for her money!
- But why did she marry him?

Now, you think what you like,
just do it fast! Break!

Pasquale! Lights on!

Sir, the young man
is here to see you.

- Don't mind him, you're great.
- Uncouth ignoramus.

Franco, can you come see us
in Wardrobe later?

- It's tough, but you're right...
- I think so.

So you're this war director.

Mauriello told me all about you.
You're doing "Seven Against Thebes".

They're beautiful plays. I did
"Oedipus" at the theater in Pompei.

An unforgettable production.

We built the whole palace on the set,
floor by floor,

and then, for the finale,
the entire set revolved

revealing the palace from the back.

Those were the good days,
when you really could do things.

I had some contacts
for building a modern theater

right there where you're rehearsing,
in an urban renewal project.

And then one day,
the authorities woke up

and decided we couldn't
do anything any more.

You can't do a thing without money!

We don't really need that much,
we're working below scale.

Our costs are practically nil.

- It's a solidarity initiative.
- Yes, I realize that.

But tell me: once you've done this
play there, what happens next?

- We haven't thought about that.
- You'd like to do it here.

- It would be great!
- You bet it would!

Obviously, it'd be great!

We do theater for people to see,
otherwise what's the point?

The problem is that our schedule's
full up for the coming season.

What's important for us
is to go to Sarajevo now.

Perhaps we can find some money
in the special projects fund.

I'll need at least two weeks, we have
a lot of proposals to look at.

Let's do this,
come back in ten days.

So long. Let's get back to work.
The break's over.

Synchronize your watch,

it's going to take
half a day to finish this scene.

Well?

Now we've done it fast.

Why'd I hire that pain in the ass?

Bastards!

How's this Yasmin?

Hard to say. I met him
in a really good situation,

when we were doing
that workshop with Vassiliev...

From his letters now,
I'd say he was in bad shape.

He says he feels
as if he'd come down with a virus,

that he doesn't think he'll ever
be able to lead a normal life again,

and that we can't understand him.
He feels very much alone.

I'm quite fond of him,
his letters are full of irony.

You know what Yasmin means?

- Jasmine.
- Is he Moslem?

Yes. But they're as much Moslem
as we're Catholic.

- What's the girl like?
- Ljuba is completely different.

- Diego said she's gorgeous.
- How would he know?

- He saw her picture.
- That's true.

- He says you had an affair with her.
- No way!

We didn't have time for that
during the workshop!

- Your friend's girl!
- Who do you think I am!

Our little saint!

Can I have a drag?

It's really summer now.

It's cold in that theater,
I've got a sore neck...

- I'll give you a massage.
- A massage?

Come over here.

- Where?
- Here.

You glad we're working together?

Yes.

You're not mad at me any more?

"I really loved you...

And you really loved me...
Now that love is gone..."

Can I have a light?

Theaters don't have electricity, you
either use a generator or candles.

- See this?
- Is it a chandelier?

We can put an oil lamp
in each of these holes.

Imagine how great
if we could light them all!

My idea is to use a generator
and put it right on the stage,

where it'll make noise.

- We'll really have to project!
- I know, we'll have to try.

"I can see this deafening roar...
the din of..." How does it go?

"I can see this deafening roar,
the din of countless lances."

- You know the memory well...
- I really love this...

See the sound...

Listen, Leo, are you thinking
of staging the full text?

Yes, we have to stage
the Aeschylus tragedy.

They won't get it.

The full text
of Aeschylus in Italian?

When you see a Peter Brook
play you don't understand French.

But you're in theater,
you understand,

you go see Peter Brook
for other reasons.

We're going to a place, where
people are going through hell,

there's a war on, and we're staging
the whole text in Italian?

We're not just doing the text.

Why don't we try to work even harder
on our gestures, on the action,

we don't neglect the text,
we use it,

and transmit it to them
so they'd understand.

But first we have to find our own
selves in this Aeschylus text.

- If not, why go there at all?
- We, we, we...

- We can relate to...
- Look, I understand.

- Don't you care about them?
- Sure, that's why I'm saying this.

Our relationship with that audience
is filtered through our experience,

if that's phony, then we have
no relationship at all with them.

- That's obvious, but...
- The text is action.

The way we transmit
our experience and our sensitivity...

- Do you think we'll reach them?
- The story is well known.

Yasmin's preparing some notes
for the audience...

Well known by whom?
This is your own superstructure.

No way! We're talking about
"Seven Against Thebes",

we're going into a theater,
they've kept their theaters open.

Yes, a theater,
but everything's distorted,

you can't think about our situation.

We can't think about their situation
because we don't know it.

Then why do you want to go there?
For your own self-satisfaction?

- Certainly not! Are you kidding?
- Self-satisfaction!

If you don't think about them,

what's the point
of doing a play in Sarajevo?

Precisely because
I am taking them into consideration.

We're doing this big heroic thing,
so we won't have a guilty conscience,

but don't you ever think
of those poor people there,

living in conditions
we can't even imagine?

I want to make this clear.

It's not about guilty conscience.
We're going to do a play there.

We're theater people,
and we're doing theater there.

- The conscience stuff annoys you.
- Sure it does.

There's no guilty conscience here.

My conscience is perfectly clear.

"It is enough that Cadmeans fight
hand to hand with men of Argos.

Blood so shed can be appeased.

But your two bloods are one:
such brother-murdering

not through an age of time
could that pollution fade.

If fate must be endured,
free from shame so it must be."

"If fate must be endured,
let it come free from shame."

"What else is there to glory in,
among the dead?"

"Brother, what are you bent upon?

Do not let lust for battle
carry you away.

Banish this evil urge
before it grows."

I'm coming.

Here's the book you were looking for.

This will really be helpful.

How are the rehearsals going?

So, so... We have no money.

Then there are things in the text
that I haven't figured out how to do.

I've invited my friends,
the theater managers,

because I thought they could help me

figure out how to do this work,
and give me some orientation.

I even convinced a newspaper
to help me get their permits,

but they don't want
to come to Italy any more.

Perhaps it's better for them
not to leave Sarajevo now.

- Why?
- They might not want to go back.

Not go back? They have their
theater, their families...

We have to go there too,
we were supposed to leave together.

I think they'd be wise not
to let themselves be tempted.

It could be harder later,
if they didn't go back.

You know many of our intellectuals
are leaving there now?

Yes, but a lot are staying.

Here.

- Thanks again.
- Good luck.

That's it, Riccardo, just one.

That upper one is too even.

Watch the glass!

He's climbing, climbing,
it keeps getting hotter,

and the road gets steeper.

Everything's dry, burnt out,
nothing but sun and salt,

the sun comes up,
and his sweat is salty.

He keeps climbing, climbing...

Look...

He starts to run toward the light,

and as Nino stands there,
ready to knock, the light...

disappears, and the house...
is swallowed up by the darkness.

The witch's eyes glisten

and are the same color
as the knife blade.

Jabaluba the witch is hungry!

The witch's lantern illuminates
Nino's body as he sleeps.

Nino feels that the sheets...

Where were we?

At the third sheet.

Nino feels the sheets
becoming lighter and lighter.

Leo, what's happened?

Sorry, Vittorio, we're in a mess,
Luisella's gone off to Rome.

- What?
- Gentili called her.

To shoot another film?

She didn't even have the courage
to call me up.

- How did Diego take it?
- Bad.

- What now?
- The others are inexperienced.

You're right.

Argelli's here, Sir.

She wants her debut in Salerno?
Then she won't come to Naples.

It's obvious, I want an exclusive.

Come here, sit down.

I hear you've had some problems.

Luisella Cielo has left the company.

Those things happen.

I called because
I wanted to make you an offer.

- You know Sara Cataldi, don't you?
- Yes, but not personally.

An extraordinary actress,
with real temperament.

Couldn't she play the role
Luisella Cielo was doing?

- Isn't she working with you?
- I need a different kind of actress.

She's had some difficulty
adapting to our ways here.

We're a Neapolitan company,
our rhythms are different.

Greek tragedy...
would be just perfect for her.

Can you imagine Sara Cataldi
rehearsing down there with us,

with all those discomforts?

- And she'd never come to Sarajevo!
- You're wrong! Sure she'd come!

That sort of thing is ideal
when things are going wrong.

A change of scenery, working with
young actors, an experimental show,

solidarity... She's just rented
a furnished apartment here in Naples.

She'll do it.

I don't think it's a good idea,
we're too different.

Do you realize how much
Sara Cataldi's contract costs us?

You don't want to know.
If you meet me halfway on this,

I'll not only give you
a subsidy now,

but I'll try to put your production
into our next season's schedule.

All right,
take a deep breath and move.

A deep breath...

Keep alert,
don't get caught up in form.

It's real, all the way back,
to the side...

Don't think about form.
It's the body...

It's real, it's not beautiful,
it's just real.

- They do this stuff every day?
- Yes, for an hour or so.

They want to perform the play
in modern dress.

Not that Greek tragedy
has to be done in classical robes,

but costumes should at least
have a hint...

It's a bit tight here.
Just a second.

Is that better?

- Who chose you to be the Herald?
- Eteocles.

Why?

Because I'm very fast
and very cunning,

very clever at these things,
at carrying out missions like this.

- How do you know?
- Because I've already done it.

On other occasions, less important
perhaps, less spectacular,

not as urgent, but...

Excuse me, Leo, I have to change.

I have to change here?
Isn't there a dressing room?

- No, there isn't.
- What do I do?

It's a bit difficult now.
We'll set something up tomorrow.

We'll find you a space
where you'll have some privacy.

- Where are they?
- They're down below.

Then look at them.
If they're down below, look at them.

- How far are you now?
- About... two hundred meters.

No, less, a hundred meters.

Citizens, until this day,
the gods were well inclined,

and through this lengthy time of
siege gave us the best of the war.

But now our prophet Teiresias,
who keeps the augural birds,

and without the help of fire
by hearing and reflection

tells infallibly
the drift of portents,

he, interpreting such signs, says

that a supreme attack is this night
being planned among the Acheans,

to overthrow our city.

Then, to the walls!

Swarm to the battlements and gates.
Forward, full-armed!

Man parapets, fill every floor of
every tower and in the gate's mouth

hold your ground with courage.
God will give us victory!

How much longer'll this go on?
We want to sleep!

- You know there's a theater here!
- We have to work in the morning!

What's goin' on?

- We want to go to sleep!
- Close that window!

They'll shut up, don't worry.

- I hope so!
- I'll take care of it.

Go on in, I'll see to it tomorrow.

Let's go, Carmela.

Leo, there's a package for you.

Will you get it, Rosita?

- How's it going?
- Working, as usual.

I've been really busy, but I'll come
over to see you before I leave.

I told you not to worry,
we'll have a security escort.

They're not savages,
they're like us.

Are you crying?

Now stop it, Mama, please!

I'm sorry, but I can't perform
with all this infernal noise.

What's the point of screaming my
lungs out, nobody can hear me,

there's no way I can even
say a word to them.

- We've got a problem with the door.
- We either lower it, or remove it.

This is pointless, I can't go on.

I wasn't there,
so the door wasn't closed,

and the generator's noise level
didn't drop off right away.

But the generator's inside.

With the door open, the generator's
noise level stayed very high,

instead of it being at a level
that would allow us to...

- I had three lines.
- Was it in Syracuse?

- No, it was Verona.
- "Twelfth Night".

It wasn't too bad.

I was in Syracuse,
I was a stage hand.

- You slept at Polidori's, right?
- Do you know Polidori?

Do I know him!

You know where I could
find some stuff?

Not much, just enough
to help me learn the part.

There's a guy
right near my house.

- Good stuff?
- I don't know.

I'll ask Rosario.

It doesn't matter, forget it.

Where the hell is he?

What is it, Antonello?

Rosario just called me.
He's in a mess.

- What happened?
- He was busted by the cops.

He says they beat him up.

- What do you mean, busted?
- I can't tell you now.

He's fine, though.

- He'll be there tomorrow.
- Did you talk to him?

Yes, don't worry. Wait for me,
I'll be there in half an hour.

Hurry up.

You know Rosario's been struggling
to kick the habit.

How could you ask him
of all people for some coke?

I didn't ask him,
I asked Maurizio.

We've only just begun
working with you,

this whole thing's totally absurd!

What I did was thoughtless,
maybe stupid, whatever you like.

- But this story about the police...
- I'm not interested!

What do you mean?

Don't you realize that he shot up
with my 200,000 lire

and then made up
that story about the police?

How should I feel knowing that
someone got beaten up because of me?

It's a lie, because if it were true,
he'd be in jail now.

But I heard he was at home.

If there's one thing I can't stand,
it's lying!

I'll tell you something.
I want my money back.

- I'll give you your 200,000 lire.
- I don't want your money!

I don't give a damn!
It's a matter of principle.

There are no principles,
there's only the play!

You're right,
there's only the play.

But don't expect me to have anything
to do with him, he doesn't exist.

To me what he did was
very serious, a betrayal!

You called him,
"bring me the dough"...

Who the hell told ya to do that?

- You know who he soldiers for?
- Get outta here, idiot.

You tellin' me who I gotta call?
I'm in charge of the money here.

I don't get it, you tryin' to
take over here all of a sudden?

Cop a walk, you little shit.

Get outta here, you moron,
and don't show your mug here again.

I'll shove that rod down
your throat!

When I saw him spin his
threshing-floor of a shield, I shook.

When I saw him spin his
threshing-floor of a shield...

his round threshing-floor...

Start from Tydeus.
Remember you're doing it for them.

You're doing it for them,
to show them.

Try for a second to imagine
him here, up until "I shook."

I shook,

when I saw him spin his
threshing-floor of a shield...

Sorry, I can't get it.

Belching black smoke,
which glitters, almost flame.

You do it all,
or when you reach this point:

"I shook, when I saw him spin his
shield, he made it spin,

in the air, it was horrible.
And upon his shield..."

These are your lines.

I know the verses are very difficult,
but over and above that,

the action must be... concrete.

I shook,

when I saw him spin his
threshing-floor of a shield,

whirling it in the air.

No shoddy workman bestowed
such craftsmanship upon it.

Careful, because...
Can you see you're rambling?

I didn't know this scene was
in "Seven Against Thebes."

Tydeus devouring
Melanippus' head.

- As played by Maurizio.
- No. Vincenzo's playing Melanippus.

Beautiful, isn't it?
They've just put it on view.

The director told me,
he's really an incredible guy.

He's got this rare collection
at home, from India and Pakistan.

He even has a house in India,
right on the ocean.

He said he'd let me use it.

Slow down, I've got heels on.

It's a lousy setup,
we're flat broke.

You're doing something beautiful,
why're you depressed?

I feel out of it,
I can't get a hold on my character.

And then, all this stuff
about the Greeks, the war...

- Sarajevo, I couldn't care less.
- What are you talking about?

Why, did you care about it?

I would have done that play.

Should I have turned down that film?

What would you have done,
if you were me?

Sure, I'll drop the film
and do the chorus in the play...

The army
is let loose!

They left camp
and they are streaming forward,

their horsemen at their hand!
I see it by the dust...

Why's she running around like that?
We can't understand her!

She says she's relating
to the people and the place.

But we have a real situation here,

with people of flesh and blood,
who're frightened, who smell!

Antigone arrives from Syracuse,
enters, and does her monologue.

If you're on her back,
you'll just make her anxious.

It's worse.
You have to help her.

The others are all there,
that's what counts.

See you later at the theater.

That's great,
we haven't lost our balance.

Someone's led us here,
but it's hard to know who it was.

So we have to be even more alert.

We don't know who led...

And now we have to turn around.

This is hard, it means
losing touch with the others

while we're carrying out this action.
But we have to feel their presence.

There we are.
Good.

Don't budge. Now we'll see
if we can do it by just listening.

We don't know who'll do it.

You see that?

If you told this to anyone,
they'd never believe it.

Together. Everybody together.

What does Son of God mean?
We are all the sons of God.

- Isn't that right?
- Yes.

So how can Christ
be the Son of God

if we're all the sons of God?
Is he like us?

Then he's human, period.

Miss... he is the Son of God
in a totally different way

from the way we are.
Isn't that right?

How, then?

He is... the Son of God

in the sense that he is part of God,
"consubstantial",

as the Church maintains,
to God himself.

God, in point of fact,
in Christian theology,

is the Father, the Son,
and the Holy Spirit.

Is that the way it is, or not?

You're looking at me
as if I were saying...

In the Beginning
there was the Word,

and the Word, who was the Son,
was next to God,

and then the Word became Flesh,
and was Christ.

And the Word, which became Flesh,
was the Messiah,

who came here to do what?

What does the Christian Messiah do?

What did Christ do?
What did he come here to do?

What do we do, Boss?

Please, don't call me Boss.

We have to find beds.

This one... will do fine.

This is all anatomical stuff.
Let's take it.

Load it on right!

How pitiful
that a town of unremembered age

should perish,

a heap of crumbling cinders,

captured by the sword, enslaved,

by the hand of the Acheans
and the will of the gods.

That widowed women,
young and old, should be led

like horses by the hair,
their clothes in rags about them.

As the ruins are evacuated
a cry rises,

the mingled voices
of prisoners going to their fate.

It is a dreadful future that I fear.

- Are you coming to eat with us?
- I have some meat loaf at home.

See you tomorrow.

I wanted to tell you, that scene
you did on the bed was beautiful.

You've got the hang of it, now,

and when you turned around,
and covered your face...

It was really good.

I think you've found
the right starting point.

You have to find
your starting points, too.

We just can't seem to get into it.
You think it's our fault?

Leo's giving confusing directions.
He keeps changing his mind.

That's because he's intelligent.

- He's got a problem with women.
- No, that's not true.

Even with Cataldi, can't you see?
She's a tough one, but he...

It's not only Leo,
all the guys here are creeps.

- I'd better leave, then.
- No, don't.

I'll defend you
from these two witches.

- I'll stay because he said so.
- Don't get smart.

- I've been dreaming about you.
- What do you mean?

- You know, these dreams...
- Bad dreams?

- Nightmares.
- About leaving?

I'm really getting scared...

What's your family saying?

My father asked me
if I really wanted to go.

- I haven't told them yet.
- At last! I'm starving!

Can we have another fork?

If it weren't for you...

- What kind of meat is this?
- It's beef.

It's like our fried meat,
except they make it with pork.

- Do you eat it?
- No, I don't like it.

Neither do I!

- It's kind of yucky.
- I can't eat it, either.

- Did you understand?
- No.

"I can't stand it,
the same old soup every day,

I'm thinking
of growing a moustache."

- More or less...
- What does it mean?

Well it means...

Can you get in the water here?
I'm going.

I wanted to tell you,
after what happened here,

be better if you didn't
turn on the generator,

and when you leave the theater
try to all leave together.

- Why?
- Nothing's going to happen...

But people've got weapons,

it's about control of the area,
you know how it is...

- We'll be careful.
- Make sure.

- Things going well?
- We're getting there.

Cross.

Video...

torture, video... agony...

Video corruption,
video pillaging,

video vampires,
video executions.

Stars of David,
red stars,

stars and stripes,
blue helmets, green helmets,

hammers and sickles!

Black cross, swastika.

Islamic cross.
Christian cross!

Sarajevo!

Supermarket.

Sarajevo!

Supermarket...

'Bye, Giulio,
see you next week.

- Luisella Cielo.
- It's nice to meet you.

I saw you in "Phedra",
I really liked it.

Thank you.
I think you're very good, too.

- Did you see the film?
- Of course.

It was my first film.

It didn't seem that way. You're sure
of yourself, you have such vitality.

- How are things going with Leo?
- Fine.

It's a very unusual situation.
We'll see when we get there.

- You're doing Kate, right?
- Yes, this is your costume.

It's not really my kind of theater,
but things happened so fast...

And then Turco's kind
of nice... right?

Of course.
I'll come see the play if I'm here.

Say hello to Leo and the others.
And break a leg.

Break a leg!

Everything okay?

I did not send Polyneices
into exile,

I had Polyneices
leave the city,

because I knew that the manner
in which he would govern the city

would be terrible
for the city itself.

What is happening now

is a sign of what Polyneices
would have done if he had governed.

Ambitious men,
those who exploit all situations,

are everywhere, in Thebes as well.

Desperation.

The need to defend yourself.

Therefore,
in my view... there are times

when we're doing things,
without being aware,

like when we point a gun
and fire at someone.

At the beginning,
this was very difficult for me to do,

but then, in the grip of a sort
of euphoria, of the folly of war,

there have been moments
when I've even found pleasure

in pulling the trigger.

At the present time,
I'm running contraband.

What kind of contraband?

- Food.
- No drugs?

No, no drugs...

- Weapons? Prostitution?
- Prostitution yes,

because it serves a purpose.

How do you think the war will end?

Through reconciliation.

Don't you think Eteocles was wrong
when he exiled Polyneices?

I don't think so, but I can't
decide whether he was wrong.

However, seeing
what was unleashed...

I don't know whether he was wrong.

Your brothers' lives,
or the city's salvation?

If saving my brothers' lives
would mean the death of the city,

I prefer my brothers' death,
because life would be miserable,

particularly for them.

Throw down your weapons!

- Throw your weapons down!
- They're fake!

Up against the wall.
Get your hands up.

Come on, now...

Officer, I really think
this is crazy.

Even a kid can see
these are made of wood.

- Calm down!
- This is incredible!

- Who's in charge here?
- I am.

- You need a gun permit for these!
- We're rehearsing a play!

- Calm down.
- I am calm, you've got the guns.

We're rehearsing a play!

- Can't you see these are fake?
- Stop shouting!

I'm not shouting.
Goddamn!

Take your hands off me!

Easy, now!

Drop it, don't get mixed up in this.

Do you realize? He could have
started shooting at you!

We're just doing our job.

Are you aware of the situation
here in this neighborhood.

Yes.

Don't you think it'd be better
to do another kind of job?

Inspector, I work here,
I'm a teacher.

May I, Sir?

You've got a record.
You weren't always in the theater.

Inspector, I've been
out of that stuff for years.

Don't get me into trouble
for something like this.

I'm married now, I have a son.

I'm really sorry, Maurizio...

Get these creeps out of here.

We have to go over this again.

O curse of Oedipus,
dark and unrelenting...

The event then even gives us
matter for joy: our city thrives.

But her two heads have divided with
steel the sum of their inheritance.

Antonello, you have to see
Vincenzo right away.

As soon as you hear him coming...

I turned around as soon
as I heard him coming.

We heard him before.

There's a problem, I have to say:
"Go up and get Polyneices."

Which means I have
to see Polyneices first.

Let's do it, all right?

O curse of Oedipus,
dark and unrelenting,

a dreadful coldness
falls about my heart,

when I heard of men bleeding
and miserably dying...

- Is the entryphone working?
- I don't know.

- Thanks again.
- Don't mention it.

I've got something for you.

Yasmin sent it, it's a piece
of the Sarajevo library.

Thank you.

Our dress rehearsal's tomorrow,
and we're all out of firecrackers.

Morning. Can we have
two coffees, please?

Can I have a glass of water?

- Where can I get some firecrackers?
- We might still have some.

Maria!

- You got any firecrackers?
- I'll look.

- Hi, Dad.
- Hi, Adriano.

What's up, Adriano?
I thought your brother was coming.

He's busy tonight.
I'll stay with you.

Listen, could you open
the window a bit?

- Can I open the window?
- Go right ahead.

Seven heroes,
fierce leaders of armies,

cut a bull's throat and caught
the blood in a black shield,

dipped their fingers
in the bull's gore,

and in the dread name of Cruelty
and bloodthirsty Terror,

swore an oath
to annihilate the city,

making her land a desolation,
or to die

and with our soil
mingle their blood.

Did you see these things
with your own eyes?

Yes, my Lord.

They were bringing tokens on
Adrastus' chariot, they shed tears,

but none uttered a word of grief.

Their hearts of iron
blazed with courage,

like the blood-light
in a lion's eyes.

And their ferocity
was not stayed by fear.

I left them drawing lots,
letting the fall of luck

decide how each would lead
his troops against our gates.

We must fortify our city,
before Ares' tempest is unleashed.

Yes, Sir.
We must seize the right moment.

- Be vigilant and loyal!
- The clarity of these my words...

will give you notice
of what transpires outside the walls.

Oh, he's hurt!

The clatter of hooves stuns my senses
and shakes the soil of our city,

the sound grows nearer, and roars
with a mountain torrent's thunder!

O gods, come to the help
of our walls, protect us!

- Mela, is the kitchen here?
- Yes.

Chief against chief,
I'll match him, brother to brother,

enemy to enemy,

I will go and face him.

Bring my greaves, to protect me
against spear and stone.

Never, dearest of all men.

It is enough that Cadmeans fight
hand to hand with men of Argos.

Blood so shed can be appeased.
But such brother-murdering,

not through an age of time
could that pollution fade.

If fate must be endured,
let it come free from shame.

What else is there to glory in,
among the dead?

What are you bent upon? Do not let
lust for battle carry you away!

This urge is evil,
banish it before it grows.

Heaven moves this act
swiftly to a head.

Let the wind of doom, Hell's tide,
and Phoebus' hate ruin Laius' race!

You are craving for a sacrifice,
but the fruit will bitter.

And the blood is not lawful!

To this ritual, my own
father's wicked curse appoints me,

haunting me with dry pitiless eyes,

assuring me that death
is better soon than late.

No!

You will not be called a coward,
tour prosperity once established.

The black-cloaked spectre
of the house will depart

when the gods accept offerings
from your hand.

The gods have already ceased
to think of us.

The offering they desire
from us is that we die.

This rage was kindled
by the curse of Oedipus,

how true a prophet
is that figure of my dreams,

who comes each night
to apportion our inheritance!

Let a woman's words persuade you
even against your will.

Say what you have to say,
and finish! No long speech.

Go anywhere,
but to the seventh gate!

Even unvaliant victory
wins the gods' approval.

That is no motto
for a man in arms to accept.

Are you prepared to plunder
your own brother's blood?

When the gods send destruction
there is no escape.

That's fine...

Leo, come on!

Struck on the left side,

deeply struck,
bodies that grew from one flesh.

Alas, they were possessed,
doomed to mutual murder.

Now their enmity is over,

and their lives mingle where a pool
of gore soaks into the earth.

Now they are truly of one blood.

Wait! Stop.
Stop, wait.

I am to proclaim

the decree of those who are regents
for the people of this city.

Citizens of Cadmus!
It is decreed that Eteocles

shall be interred
in his own native soil.

He chose to die in his own city,

and he died with honour
where it befits young men to die.

For his brother Polyneices here, his
body is to be thrown out unburied,

for dogs to tear.

No troops of slaves shall heap
the earth above his corpse,

no shrill melodious dirge
be chanted in his honour,

nor any funeral rite performed
by next of kin.

- Carry him outside.
- Wait.

If no one else will join me
in burying Polyneices,

then I will bury him,

and chance what danger may result
from burying my own brother.

Nor am I ashamed to disobey thus,
and defy the State.

My brother's flesh
no hollow-bellied wolf shall tear.

Woman as I am, I will dig the earth,
and contrive a grave for him,

and bury him with my own hands.

- No decree shall stop me.
- I warn you not to defy the State.

And I warn you not to herald me,
you waste your time.

A people newly freed
will show an ugly mood.

Then ugly be it.
My brother shall not lack his grave.

Will you honour with burial
a public enemy?

He had been wronged.
He was answering wrong with wrong.

Because one man had wronged him,
he attacked us all.

- I am going to bury him.
- Take your own counsel.

You have been warned by me!

We will go with Eteocles!

The State and Justice
speak with one voice.

Eteocles saved us from being engulfed
in the wave of foreign invaders!

At last! I was wondering
what had happened to you this time.

Has anyone seen my sister?

Can you get those bottles
in the fridge?

These?

- Beautiful dress!
- I know, I overdid it.

But since I won't be wearing
all my nice things for a while...

Alba, give me a hand.

Sara, have you seen Leo?

I think I saw him
on the terrace below.

What'll you do about the space?

They told us there's a door
leading to an inner courtyard.

The space is well protected,
and fairly safe.

We'll see when we get there.

- Where will you stay?
- With some of the local actors.

- At least Leo and Vittorio will.
- Or in a shelter.

- You mean in tents?
- Yes, probably in tents.

You get stronger
if you hold it all the way...

You're right, that's true.

Come have a look.

Don't touch it. This comet's been
named P. Schumacher Levy-Neuf.

This is a comet...

Take a good look, because in two
months, it'll be gone forever,

it'll have crashed on Jupiter.

After the Wall came down,

things went right back
to where they were

between the First
and Second World Wars...

There was a kind of historical
freeze, and the Cold War...

The problem is that in this
so-called "new world order"

things didn't work out
the way they should have.

The problem is morality,
and then there's all the rest.

Francesca, you give this to Leo,
I can't seem to find him.

Alright, let's have a drink.

We were talking,
and then he had something to do...

- and couldn't make it here.
- I'm really sorry, too.

We're leaving from here,
so we won't be able to meet in Rome.

By the way, Giulia.

Could you put this in your purse?

Throw it away when I get back,
if something happens...

- Read it.
- What are you, crazy?

Ridiculous! She's indestructible!

- The drinks are all gone.
- I'll be right down.

Where's Leo?
Nobody's seen him.

He said he was coming later,
that he had something to do.

I have to go.

The cat left.

I think I'll be leaving too,
it's kind of late.

Where's Leo?

I saw him go upstairs
a little while ago.

Let's go find him.

Leo! What's wrong?

We're not leaving, are we?

No.

What do you mean, we're not leaving?

- Yasmin died.
- Oh, my God!

- What are you talking about?
- Two or three weeks ago.

He was hit by a grenade
on his way to the theater.

I found out about ten days ago.

No... you never told me.

- Mauriello, how're the reviews?
- Good!

Can I see them?

They're really good, Boss.

- Great headline, right?
- "Luisella Cielo Extraordinary".

"Powerful and Imaginative Staging."

"Superb Costumes."

Come on... beginner's luck.

BLOOD BATH IN SARAJEVO

What finally happened to those guys
who were going to Sarajevo?

What do you expect?
They never went anywhere.

It was just wishful thinking.
They think those people need theater.

What they really need are weapons!
You understand? Weapons!

- Not theater!
- So they never did the play?

I told them to put on the play
anyway, but they refused.

I lost a bundle of money on that.

Riccardo says he's planning
to come to Naples, too.

- Another one!
- But I want a place by the sea!

What's the problem?
Plenty of sea around here!