Forestillinger (2007–…): Season 1, Episode 1 - Jakob - full transcript
6 weeks
6 people
6 aspects of reality
Per Fly's
PERFORMANCES
My name's Jakob. I'm 32.
And I am an actor.
Jens phoned me -
- three weeks ago, I suppose, -
- to tell me that the original actor
had dropped out to shoot a movie.
- It's a big part?
- A giant part. A giant part.
So this ...
... is a huge chance.
- Jens's office?
- Yes.
Can you do it this afternoon?
I'll send somebody over.
That's how we'll deal with it.
Don't worry.
Thanks for calling.
Our saviour!
We're so pleased to see you!
I am really grateful to you.
For choosing me.
That's great.
Hi, baby!
- It's marvellous to be here.
- We could hardly wait!
You've rebuilt
the bar area beautifully.
- This is Jakob; he's playing Adonis.
- I'm Eva. Playing Venus.
I know who you are!
I feel really privileged to
to be able to act with you.
- And he's great.
- Well ...
- You are.
- We'll see.
- What did you say your name was?
- Jakob.
Jakob, your dressing room
is the last on the left.
I've got to tell you ...
I've just been to see that
Woody Allen film you were in.
Fantastic.
Completely fantastic.
Thanks.
12 first nights before Christmas,
And 12 after.
We still talk about it.
- Shall we sit down?
- Hi, Tanja.
Long time no see.
- Good to see you.
- You, too.
Tanja's always fascinated me.
She is tremendously talented.
Who are you playing?
Proserpine.
The Goddess of the Underworld.
- I'm playing Adonis.
- Yes.
- How are you?
- That'd better wait till later.
She was in the year above me.
We got off
with each other there, too.
Several times.
We had a kind of affair.
But then she got together with Marko.
Are you all hugged up, luvvies?
Welcome to
our first new production of the year.
I've been feeling like a child
at Christmas.
Why? Because you were all coming.
We have brought
a bunch of you together -
- who really matter to me,
to Marko, and to his work.
- Have you worked with Marko?
- No, sadly.
He is responsible for
rejuvenating the stage in Denmark.
He is the king.
... the first performance
of a work by Shakespeare.
Venus and Adonis is a poem
which we're going to stage.
Marko and I have checked.
Nobody else in the world has ever
been stupid enough to do so before.
It's a tremendous poem.
A tremendous challenge.
Actors who work with him -
- always go farther than
you've ever seen them before.
In some of my work
I may have been a bit superficial.
I want to probe, to investigate
the space behind the part.
- Let's hear what Marko has to say.
- Now I'm going to let go.
I'm going to use emotions and
instincts rather than my intellect.
Venus and Adonis:
a woman who wants to love -
- and a man
who does not and dares not.
It's a tragic conflict.
We have no time for love.
Love is hard to timetable.
You can't plan it.
But that's what draws us to it.
We think and talk about nothing else.
We dream of nothing else.
But when we meet it we turn and run.
We don't have the guts or the time.
But we deceive ourselves.
Love is the only thing
worth spending our time on.
- Which dress do you want?
- The Moomin dress.
There should be
a bit for the fish, too.
- You've been married.
- Mmm.
It was quite undramatic.
The divorce.
She left me.
But it was all right.
I've got to get to the theatre.
It's so great for you.
- Take care.
- Yes.
See you.
- Hi, Marko.
- Hi.
I just wanted to say hello properly.
And to thank you for choosing me.
I am really thrilled.
And it all sounds great. Everything
we heard at the read-through.
It's dead ambitious.
This project.
- How do you feel about the verse?
- OK, but it'll take a lot of work.
Yes, but I want
to neutralise the verse -
- to stop it from
being declamatory.
That's ... how shall I put it ...
my primary aim, at any rate.
Don't spare me at all.
I can take anything.
Tanja, I'd like a word.
Can we get together some time?
To ... talk about a few things?
- About what?
- About Proserpine.
- When?
- Tonight.
Sorry. Any talking we do
will be at rehearsals.
We agreed you'd treat me
like anyone else here.
Are you meeting anyone else tonight?
No, so just tell me what it's about.
- About your part.
- Give me a break.
Talk to you later.
Since I have hemm'd thee here
Within the circuit of this ivory pale
I'll be a park,
and thou shalt be my deer
Graze on my lips,
and if those hills be dry ...
Wait ...
"Stray lower,
where the pleasant fountains lie."
She's talking about her pussy.
It's a very sensual scene.
You're too stiff. Loosen up.
Take your hands out of your pockets.
I need to talk to Tanja.
You want to seduce him, right?
You're being far, far, too prim.
Put your arms round him.
Tell me why he should stay with you.
Within this limit is relief enough,
Sweet bottom-grass
and high delightful plain
Marko, stop it.
You can't do that.
- We're rehearsing.
- We are not.
You're taking advantage.
I've had enough for today.
Find something else to do.
Jakob, we'll work on
your monologue instead.
We'll find your monologue
and have a quiet look at it.
Can't we get this bloody door fixed?
Can't we get this bloody door fixed?
- I haven't learned my lines yet.
- No problem.
We've split up.
- When?
- I moved out this weekend.
- Before rehearsals started?
- Yes.
It's been ... I couldn't ...
we couldn't live together.
We tried everything.
Sometimes things are over.
And sometimes they're really over.
- This time we've crossed the line.
- Won't it be hard to work together?
Of course it'd be better
if we didn't have to.
But no need to spoil everything.
What do you feel the work is about?
To start with, love.
Obviously.
Since he started
chopping the lines around -
- and we've started
improvising a lot, -
- I have been getting confused.
I still think it's about love.
But it's very sensual, too.
Lots of sex.
It's really confusing. Right now.
Hi, Jakob ... may I come in a moment?
Yes.
Of course.
- Are you pleased to be here?
- Yes.
Though it's tough.
That verse ...
- So much passion ...
- It's going perfectly.
- You mean that?
- You bet I do.
I'm delighted to hear it.
I really am.
- You know Tanja and I split up?
- I'd heard.
If I talk to her
she'll think I'm getting at her.
And things are tense enough as it is.
- I see.
- I was thinking ...
Maybe you could both work
a bit on your scenes together.
In addition to our other rehearsals.
You could work on them alone.
So we can make more progress.
I am sure we can.
Great.
Here's a key. You can both
come and go as you please.
- OK. We'll sort something out.
- See you tomorrow.
I like the way ...
He doesn't want you just
reeling off stuff you're good at.
He wants you to probe.
How do you feel about that?
It's tough.
Really tough.
I can't figure out
what he's looking for.
- Is the burglar alarm on?
- I don't think so.
I hope not.
I can never figure it out.
It's as if ...
One of the problems ...
... is that you manage
to get me through the door.
You need something to work for.
You want me to come in
but you never succeed.
If he stays out there
his monologue fits better, too.
I mean ...
there's no sense of direction.
- Ready?
- Yes.
Fondling,
since I have hemm'd thee here ...
I can't do it.
- Sorry, I'll try again.
- That's OK.
Fondling ...
Since I ...
I just can't act it.
- You can.
- I can't.
You saw what Marko was like.
I can't rehearse like that.
It's going
much better than you think.
No, it isn't.
If it gets any worse
I'll have to go.
Don't let him force you out.
Sorry.
Shall we try again?
Since I have hemm'd thee here
Within the circuit of this ivory pale
I'll be a park
And thou shalt be my deer
Graze on my lips,
and if those hills be dry
Stray lower,
where the pleasant fountains lie.
Within this limit
is relief enough ...
You mustn't come with me!
No, it's difficult.
It's difficult
when you do it so well.
- Stay there.
- I'll stay there.
Sweet bottom-grass
and high delightful plain,
Round rising hillocks,
brakes obscure and rough,
To shelter thee
from tempest and from rain
- You mustn't follow me!
- No. I know.
But now I'm wondering
if he ought to anyway.
- Go away!
- I don't know how.
Farther away.
And if those hills be dry
Stray lower,
where the pleasant fountains lie.
Within this limit is relief enough
Sweet bottom-grass
and high delightful plain
Round rising hillocks,
brakes obscure and rough
To shelter thee from tempest
and from rain
Then be my deer,
since I am such a park;
No dog shall rouse thee,
though a thousand bark.
No!
And then he delivers his monologue
here, and wins the battle.
She has to fight to win him
for the rest of the play.
You're right.
That's perfect.
And we enter,
and continue from there.
- And we don't need a scene change.
- It's a really, really good idea.
Is it love?
I think so.
Maybe that's going a bit far.
But I have fallen for her.
I've reached a stage in life
where I must follow my feelings.
And not question them.
I am mad about her.
Five years ago I wouldn't have
acted on it; but now let's see.
This is the closest we've got
to a local pub or restaurant.
Marko and Eva and
my wife Tine and I came here -
- when we started the theatre.
Katrin was
in a carry cot under the table.
We've put her on a chair tonight.
I hope nobody minds.
And there's Jakob, whom we
are thrilled to have in the show.
Tine suggested you when we were
looking for a handsome young Adonis.
Welcome to the family!
Here's to Marko
and all his crazy ideas.
To the show, Venus and Adonis,
and to love, simply.
- It's you who keeps falling over.
- It isn't!
- It is!
- Look out; another kerb stone.
- Should I leave?
- Why?
Before she wakes up.
- She'll love having you.
- You think so?
I'm sure.
Shall we find you a yoghurt?
What colour?
Moomin colour.
Thanks.
Isn't she fantastic?
How will it affect rehearsals?
Very favourably.
I need this in order to let go.
This carry-tale,
dissentious Jealousy,
That sometime true news,
sometime false doth bring,
Knocks at my heart
and whispers in mine ear
That if I love thee,
I thy death should fear
Shall we do it in one go?
It's so beautiful.
- Was it OK?
- Yes. It was great.
I'm obsessed with you.
I think about you all the time.
When I wake up in the morning,
when I go to bed at night.
You're there all the time.
You look fantastic.
Brilliant, Tanja.
- Jakob, stand in the doorway.
- Try stage right.
Jakob, have you got a moment?
Well?
How are things?
Fine. Really fine, I reckon.
I really like you.
I like you as a human being,
as an actor, I have faith in you.
I've been watching you
since drama school.
The thing is ... Marko.
He tends to mix things up.
Personal stuff, his private life,
and his work.
They get mixed up
and he loses the overview.
And it's contagious.
The people around him
lose the overview.
They do things they shouldn't.
They mix things up like he does.
Know what I mean?
Yes.
I think you do.
Do you think he knows about us?
No. I don't think so.
Where from?
I don't know.
At rehearsals
he looks right through me.
You're just being paranoid.
Aren't you riding fast!
She bows her head,
the new-sprung flower to smell,
Comparing it to her Adonis' breath,
And says, within her bosom
it shall dwell
Since he himself is ...
... reft ...
Eva? Eva? What's up?
Eva? Call an ambulance!
Jens!
She's fainted, that's all.
Fetch her some water.
Eva, darling ...
Marko phoned from hospital.
Eva is all right.
She's been overdoing it.
She'll be back in a day or two.
We'll carry on, though of course
we can't do complete run-throughs.
But I'm sure there's loads
that needs a bit of polish.
Fancy a beer?
No, thanks.
- Where are you going?
- I just think it's difficult.
Tanja speaking, I can't answer
right now, just leave a message.
Tanja speaking, I can't answer
right now, just leave a message.
Hi, Jakob.
- I've been trying to phone you.
- Oh?
How about coming over
for supper tomorrow?
No. It's no good.
What do you mean?
I don't think I can.
What's going on? Is it Marko?
Did he find out?
What's going on? Is it Marko?
Did he find out?
It's nothing to do with Marko.
We've just been flirting, right?
We've just slept together
a couple of times.
Two actors mixing things up, right?
- Have you seen Marko?
- No.
- Yes ... he went on stage.
- OK. Cheers.
- Jakob, I really like you.
- No, stop. Stop it.
Maybe it's all been too quick.
A month ago I was living with ...
So what?
Now it's us!
And I don't think
it should be any more.
And if I've helped
to bring it to this, I am sorry.
- You're back with Marko.
- No.
Don't be silly.
Tanja, I ...
I love you. I love you.
I know it sounds dramatic.
You're going to have to try
to put it out of your mind.
You can do it.
Best stop now.
While it's still fun
and we're still good friends.
We can't talk about it now.
We've got a rehearsal.
Come on.
I know exactly how you feel.
And we'll talk. Of course we'll
talk to each other. You can phone.
We've got a rehearsal.
How are rehearsals going?
It's hell.
I can't act. I just stagger about.
I don't know what I am doing.
It's as if there's been some
kind of ... shift inside me.
I can't act any more.
Inside you?
What does Marko say?
To me, nothing. He directs
the others and I just stand there.
He ignores me as if
he's offended about something.
I don't know
if he knows anything or what.
Hi, Tanja, it's me again.
Please call me.
We've really got to talk.
I think it terrified her
when I came on so strong.
It was too much.
I pushed things too quickly.
But what can I do?
I think she is fantastic.
I have no choice.
I hope ...
... she's just confused.
- We've got to talk.
- Yes. But not right now, surely?
No, but when?
Look ...
Tanja, come up here.
I have written a monologue for Jakob.
And blocked it.
Jakob, sit in the box.
Lean back.
Tanja, on the opposite side.
This is for you to address to Tanja.
Just read it for now.
Love is cruel.
I have never, ever loved anyone
as much as I love you.
But you won't listen to me.
"We will never see each other again",
you say; "it is over".
I am obsessed by you.
I beg you to stay with me.
I abase myself.
But you don't want me.
It's over, you say.
You'll be able to make it flow,
I know.
- We really have got to talk.
- No, Jakob, I can't face it.
I can't stand it any longer.
I've phoned you 100 times.
What haven't I told you?
Have you gone deaf?
I've explained things to you.
You haven't explained
a fucking thing.
What are you in doubt about?
Tell me again.
I don't love you
and I never have done.
There is nothing to be
in doubt about.
And we've got work to do.
Go away!
Marko? It's Jakob.
- What's up?
- Hi.
- Want a drink?
- Please.
I don't thing things
are going very well.
With me.
In the show.
You are the best director
I've ever worked with.
I had been really
looking forward to it.
I thought
"If he sees me, I'll be good".
If you see something
that can be made to flower, -
- I'll be fantastic. Anyone who sees
me will say "He's so damned good".
But you can't see anything there.
And you don't know what to say to me.
No wonder.
I don't feel anything either.
I think I'm in a crisis with myself.
Some kind of existential crisis.
I don't know what to do about it
as I've never felt his way.
- Or maybe I do know.
- Jakob ...
You've answered your own question.
You know that?
You're asking for help because I
don't communicate with you on stage.
Meanwhile, you talk of
some kind of personal crisis.
You think
they're two different things.
I don't think so.
I think they're the same thing.
I believe we should use our lives,
use ourselves where we happen to be.
In the moment.
And take it with us on stage.
Many people don't have the guts.
But you need to settle up with
yourself and I can't help you there.
Put myself on that stage?
It's only a fucking part.
Right? If I am playing a suicide,
do you expect me to kill myself?
"Fucking part"? What does that mean?
I take it very seriously.
But you don't, it seems.
You thought you could
show up at 12 and leave at 4, -
- go off and have fun -
- and come back the next day -
- and try to set up all the emotions
in the character you're playing.
Use it on stage and I'll help you.
I can't help you until I see
just a little something there.
I have been sleeping with Tanja.
I love her, Marko. Like crazy.
You know that, don't you?
You've known all along.
Right?
Doesn't it bother you?
Frighten you? Hurt you?
See you tomorrow.
You don't care, do you?
You just don't care.
Or maybe it's just part of your plan?
Just as long as you can
do your stupid show!
She doesn't mean a thing to you.
As long as you can do
your fucking show.
You're using us
so you can do your stupid show.
Hi.
Are you drunk?
Yes, Birgit, I've come,
and I am pissed out of my head.
- Perhaps you should go home?
- I think I should stay here.
I have something
I want to talk to you about.
- You stink.
- I am so pleased we had things out.
- Go home. You should go home.
- In a nice, adult kind of way.
- Shall we do a bit of acting?
- Stop it.
Suddenly the bashful virgin?
You're a whore, Tanja.
That'll do, Jakob.
Stop it.
- Cool it.
- Aren't we going to act?
Shall we improvise a love scene?
Let's improvise.
Wasn't that good?
Genuine emotion on stage;
wasn't that the idea?
Well, here it is.
Real life, Marko.
Right in the middle of
your stupid play, Marko.
Dutch courage, Jakob.
Well done.
Maybe something will come out now.
It is about time.
Let it out.
Come on, Jakob.
Let it out.
Can you do that again tomorrow?
Sober?
Are we going to see something
come out of Jakob?
Come on, let it out, Jakob!
Now you're full of Dutch courage!
- Stop it.
- Let me see!
That's good.
Let it out.
Let it out!
That's good, Jakob.
Wow, you're good.
- Wonderful!
- Stop it.
Don't touch me.
Jakob.
Leave it.
It hurts so much.
It hurts so much.
I want to piss all over you.
Don't you see what's happening?
The man is breaking me up.
How dare anybody
talk to me like that?
Of course,
I think you'll regret it terribly.
The theatre can live with it
if you want nothing to do with us.
But it will torment you
for the next ten years.
Right now you are so angry
you don't care; but it'd be stupid.
- He's breaking us all.
- Things are often difficult.
You can decide never to
go through this again.
But if you act this,
it may well be a huge success.
- No. I hope it'll be a flop.
- Because you're six years old.
All right, that's what I am.
I've been so sensible all my life.
But this is the end of the line.
I'm doing what he wanted. "You're
inhibited! Use your emotions!"
Now I am going
to go by what I feel.
- Stop it.
- Do you like that? Emotions!
- Give me a break.
- I don't care any more.
I don't fucking care.
Don't laugh at me.
It's not funny.
- OK, sit down.
- Emotions. Goodbye.
- Don't do this.
- Good luck.
With your ridiculous,
embarrassing, stupid poem.
I am a fool.
Stupid. A wanker.
A little dog to play with.
And I can't do a thing.
How do you feel about those emotions?
It's Marko.
Can I come in?
I want you back in the show.
My mind is made up.
I can't.
I don't want to be
in your sick show.
Did you know that we wanted
to sleep together that night?
Was that why we were meant
to rehearse on our own?
Did you know
I'd always been in love with her?
You were my hero.
Do you realize?
Jakob, sit down.
I want to talk to you.
If you have problems in your
emotional life, find a psychologist.
I don't give a toss.
Wake up, man.
Hey, wake up!
You're not the most blazing talent
I have ever seen.
But you are cool enough up here
because you know there's a price.
Use it on stage instead of lulling
yourself away in your own pain.
And you might even
be really good one day.
Oh, right, you've slept with Tanja.
And it hurts like hell
if you must know.
But I use that pain, Jakob.
That's why I do this job.
It's what it takes. If you don't want
to use your pain, be a bank clerk.
Cut the crap.
"I don't like the pain
and he's cold and cynical".
I want you to come back.
The first night's less
than a week away.
We've a lot left to do.
Think it over and call me tomorrow.
Give me your decision
before 11.30.
- Tanja here.
- It's me speaking.
- I must see you.
- Not a good idea.
- I want you to come over.
- But ...
- I've got to go.
- I want you to come over.
Hi.
I am sorry
everything's turned out so messy.
I want you to come back to me.
He doesn't love you.
He's just exploiting you.
Marko used us
for material for his show.
- Doesn't it make you angry?
- I don't see it like that.
I also think you should come back.
Why?
Because I think
we can put on a really good play -
- and it'll be good for you. I think
you should do it for your own sake.
If I am going to go
on stage with you now -
- I want something in return.
- What?
- You.
I want to sleep with you
one last time.
Come on, Jakob!
- I mean it.
- I can't do that!
I can't! I mean ...
You two have humiliated me.
I've a right to screw you again.
I ... I said I was sorry.
I know you feel hurt.
And I've told you it upsets me.
Come on.
No.
No.
All right, don't.
Do you mean it? If ...
You'll come back to the show
if we do it, if I do it?
And that's a deal?
And that will be it?
And we won't talk about
anything ever again?
Fine.
Love is cruel.
You love another.
I have never loved anyone
as much as I love you.
- We shall never meet again.
- You say.
It's over.
It goes the wrong way.
Love should go backwards.
It should start with a broken heart.
By being left forever.
Why not just get it over with?
After that we have the blazing row
where I force you to choose.
But the next morning we wake up
and everything is OK.
We have breakfast in bed.
Stay naked till late afternoon.
And all our feelings
are superficial.
Then we fall in love.
Everything is a game.
Our blood surges. Every moment is
full of new truths and knowledge.
We get drunk. You come back to
my place and we sleep together -
- for the first time.
Everything feels new -
- and right.
And then, at last,
the first divine kiss.
The first touch.
And we focus more and more on
our preparations for the great event:
First sight.
It happens.
Suddenly there we are.
We see each other for the first time.
- "Hi."
- You say.
"Hi" I say.
And I turn around
and I've never met you.
And I am free.
The next episode
You slept at Jakob's last night?
Perhaps we shouldn't have had it off
just like that, but what the heck?
It's OK.
English subtitles
Jonathan Sydenham
6 people
6 aspects of reality
Per Fly's
PERFORMANCES
My name's Jakob. I'm 32.
And I am an actor.
Jens phoned me -
- three weeks ago, I suppose, -
- to tell me that the original actor
had dropped out to shoot a movie.
- It's a big part?
- A giant part. A giant part.
So this ...
... is a huge chance.
- Jens's office?
- Yes.
Can you do it this afternoon?
I'll send somebody over.
That's how we'll deal with it.
Don't worry.
Thanks for calling.
Our saviour!
We're so pleased to see you!
I am really grateful to you.
For choosing me.
That's great.
Hi, baby!
- It's marvellous to be here.
- We could hardly wait!
You've rebuilt
the bar area beautifully.
- This is Jakob; he's playing Adonis.
- I'm Eva. Playing Venus.
I know who you are!
I feel really privileged to
to be able to act with you.
- And he's great.
- Well ...
- You are.
- We'll see.
- What did you say your name was?
- Jakob.
Jakob, your dressing room
is the last on the left.
I've got to tell you ...
I've just been to see that
Woody Allen film you were in.
Fantastic.
Completely fantastic.
Thanks.
12 first nights before Christmas,
And 12 after.
We still talk about it.
- Shall we sit down?
- Hi, Tanja.
Long time no see.
- Good to see you.
- You, too.
Tanja's always fascinated me.
She is tremendously talented.
Who are you playing?
Proserpine.
The Goddess of the Underworld.
- I'm playing Adonis.
- Yes.
- How are you?
- That'd better wait till later.
She was in the year above me.
We got off
with each other there, too.
Several times.
We had a kind of affair.
But then she got together with Marko.
Are you all hugged up, luvvies?
Welcome to
our first new production of the year.
I've been feeling like a child
at Christmas.
Why? Because you were all coming.
We have brought
a bunch of you together -
- who really matter to me,
to Marko, and to his work.
- Have you worked with Marko?
- No, sadly.
He is responsible for
rejuvenating the stage in Denmark.
He is the king.
... the first performance
of a work by Shakespeare.
Venus and Adonis is a poem
which we're going to stage.
Marko and I have checked.
Nobody else in the world has ever
been stupid enough to do so before.
It's a tremendous poem.
A tremendous challenge.
Actors who work with him -
- always go farther than
you've ever seen them before.
In some of my work
I may have been a bit superficial.
I want to probe, to investigate
the space behind the part.
- Let's hear what Marko has to say.
- Now I'm going to let go.
I'm going to use emotions and
instincts rather than my intellect.
Venus and Adonis:
a woman who wants to love -
- and a man
who does not and dares not.
It's a tragic conflict.
We have no time for love.
Love is hard to timetable.
You can't plan it.
But that's what draws us to it.
We think and talk about nothing else.
We dream of nothing else.
But when we meet it we turn and run.
We don't have the guts or the time.
But we deceive ourselves.
Love is the only thing
worth spending our time on.
- Which dress do you want?
- The Moomin dress.
There should be
a bit for the fish, too.
- You've been married.
- Mmm.
It was quite undramatic.
The divorce.
She left me.
But it was all right.
I've got to get to the theatre.
It's so great for you.
- Take care.
- Yes.
See you.
- Hi, Marko.
- Hi.
I just wanted to say hello properly.
And to thank you for choosing me.
I am really thrilled.
And it all sounds great. Everything
we heard at the read-through.
It's dead ambitious.
This project.
- How do you feel about the verse?
- OK, but it'll take a lot of work.
Yes, but I want
to neutralise the verse -
- to stop it from
being declamatory.
That's ... how shall I put it ...
my primary aim, at any rate.
Don't spare me at all.
I can take anything.
Tanja, I'd like a word.
Can we get together some time?
To ... talk about a few things?
- About what?
- About Proserpine.
- When?
- Tonight.
Sorry. Any talking we do
will be at rehearsals.
We agreed you'd treat me
like anyone else here.
Are you meeting anyone else tonight?
No, so just tell me what it's about.
- About your part.
- Give me a break.
Talk to you later.
Since I have hemm'd thee here
Within the circuit of this ivory pale
I'll be a park,
and thou shalt be my deer
Graze on my lips,
and if those hills be dry ...
Wait ...
"Stray lower,
where the pleasant fountains lie."
She's talking about her pussy.
It's a very sensual scene.
You're too stiff. Loosen up.
Take your hands out of your pockets.
I need to talk to Tanja.
You want to seduce him, right?
You're being far, far, too prim.
Put your arms round him.
Tell me why he should stay with you.
Within this limit is relief enough,
Sweet bottom-grass
and high delightful plain
Marko, stop it.
You can't do that.
- We're rehearsing.
- We are not.
You're taking advantage.
I've had enough for today.
Find something else to do.
Jakob, we'll work on
your monologue instead.
We'll find your monologue
and have a quiet look at it.
Can't we get this bloody door fixed?
Can't we get this bloody door fixed?
- I haven't learned my lines yet.
- No problem.
We've split up.
- When?
- I moved out this weekend.
- Before rehearsals started?
- Yes.
It's been ... I couldn't ...
we couldn't live together.
We tried everything.
Sometimes things are over.
And sometimes they're really over.
- This time we've crossed the line.
- Won't it be hard to work together?
Of course it'd be better
if we didn't have to.
But no need to spoil everything.
What do you feel the work is about?
To start with, love.
Obviously.
Since he started
chopping the lines around -
- and we've started
improvising a lot, -
- I have been getting confused.
I still think it's about love.
But it's very sensual, too.
Lots of sex.
It's really confusing. Right now.
Hi, Jakob ... may I come in a moment?
Yes.
Of course.
- Are you pleased to be here?
- Yes.
Though it's tough.
That verse ...
- So much passion ...
- It's going perfectly.
- You mean that?
- You bet I do.
I'm delighted to hear it.
I really am.
- You know Tanja and I split up?
- I'd heard.
If I talk to her
she'll think I'm getting at her.
And things are tense enough as it is.
- I see.
- I was thinking ...
Maybe you could both work
a bit on your scenes together.
In addition to our other rehearsals.
You could work on them alone.
So we can make more progress.
I am sure we can.
Great.
Here's a key. You can both
come and go as you please.
- OK. We'll sort something out.
- See you tomorrow.
I like the way ...
He doesn't want you just
reeling off stuff you're good at.
He wants you to probe.
How do you feel about that?
It's tough.
Really tough.
I can't figure out
what he's looking for.
- Is the burglar alarm on?
- I don't think so.
I hope not.
I can never figure it out.
It's as if ...
One of the problems ...
... is that you manage
to get me through the door.
You need something to work for.
You want me to come in
but you never succeed.
If he stays out there
his monologue fits better, too.
I mean ...
there's no sense of direction.
- Ready?
- Yes.
Fondling,
since I have hemm'd thee here ...
I can't do it.
- Sorry, I'll try again.
- That's OK.
Fondling ...
Since I ...
I just can't act it.
- You can.
- I can't.
You saw what Marko was like.
I can't rehearse like that.
It's going
much better than you think.
No, it isn't.
If it gets any worse
I'll have to go.
Don't let him force you out.
Sorry.
Shall we try again?
Since I have hemm'd thee here
Within the circuit of this ivory pale
I'll be a park
And thou shalt be my deer
Graze on my lips,
and if those hills be dry
Stray lower,
where the pleasant fountains lie.
Within this limit
is relief enough ...
You mustn't come with me!
No, it's difficult.
It's difficult
when you do it so well.
- Stay there.
- I'll stay there.
Sweet bottom-grass
and high delightful plain,
Round rising hillocks,
brakes obscure and rough,
To shelter thee
from tempest and from rain
- You mustn't follow me!
- No. I know.
But now I'm wondering
if he ought to anyway.
- Go away!
- I don't know how.
Farther away.
And if those hills be dry
Stray lower,
where the pleasant fountains lie.
Within this limit is relief enough
Sweet bottom-grass
and high delightful plain
Round rising hillocks,
brakes obscure and rough
To shelter thee from tempest
and from rain
Then be my deer,
since I am such a park;
No dog shall rouse thee,
though a thousand bark.
No!
And then he delivers his monologue
here, and wins the battle.
She has to fight to win him
for the rest of the play.
You're right.
That's perfect.
And we enter,
and continue from there.
- And we don't need a scene change.
- It's a really, really good idea.
Is it love?
I think so.
Maybe that's going a bit far.
But I have fallen for her.
I've reached a stage in life
where I must follow my feelings.
And not question them.
I am mad about her.
Five years ago I wouldn't have
acted on it; but now let's see.
This is the closest we've got
to a local pub or restaurant.
Marko and Eva and
my wife Tine and I came here -
- when we started the theatre.
Katrin was
in a carry cot under the table.
We've put her on a chair tonight.
I hope nobody minds.
And there's Jakob, whom we
are thrilled to have in the show.
Tine suggested you when we were
looking for a handsome young Adonis.
Welcome to the family!
Here's to Marko
and all his crazy ideas.
To the show, Venus and Adonis,
and to love, simply.
- It's you who keeps falling over.
- It isn't!
- It is!
- Look out; another kerb stone.
- Should I leave?
- Why?
Before she wakes up.
- She'll love having you.
- You think so?
I'm sure.
Shall we find you a yoghurt?
What colour?
Moomin colour.
Thanks.
Isn't she fantastic?
How will it affect rehearsals?
Very favourably.
I need this in order to let go.
This carry-tale,
dissentious Jealousy,
That sometime true news,
sometime false doth bring,
Knocks at my heart
and whispers in mine ear
That if I love thee,
I thy death should fear
Shall we do it in one go?
It's so beautiful.
- Was it OK?
- Yes. It was great.
I'm obsessed with you.
I think about you all the time.
When I wake up in the morning,
when I go to bed at night.
You're there all the time.
You look fantastic.
Brilliant, Tanja.
- Jakob, stand in the doorway.
- Try stage right.
Jakob, have you got a moment?
Well?
How are things?
Fine. Really fine, I reckon.
I really like you.
I like you as a human being,
as an actor, I have faith in you.
I've been watching you
since drama school.
The thing is ... Marko.
He tends to mix things up.
Personal stuff, his private life,
and his work.
They get mixed up
and he loses the overview.
And it's contagious.
The people around him
lose the overview.
They do things they shouldn't.
They mix things up like he does.
Know what I mean?
Yes.
I think you do.
Do you think he knows about us?
No. I don't think so.
Where from?
I don't know.
At rehearsals
he looks right through me.
You're just being paranoid.
Aren't you riding fast!
She bows her head,
the new-sprung flower to smell,
Comparing it to her Adonis' breath,
And says, within her bosom
it shall dwell
Since he himself is ...
... reft ...
Eva? Eva? What's up?
Eva? Call an ambulance!
Jens!
She's fainted, that's all.
Fetch her some water.
Eva, darling ...
Marko phoned from hospital.
Eva is all right.
She's been overdoing it.
She'll be back in a day or two.
We'll carry on, though of course
we can't do complete run-throughs.
But I'm sure there's loads
that needs a bit of polish.
Fancy a beer?
No, thanks.
- Where are you going?
- I just think it's difficult.
Tanja speaking, I can't answer
right now, just leave a message.
Tanja speaking, I can't answer
right now, just leave a message.
Hi, Jakob.
- I've been trying to phone you.
- Oh?
How about coming over
for supper tomorrow?
No. It's no good.
What do you mean?
I don't think I can.
What's going on? Is it Marko?
Did he find out?
What's going on? Is it Marko?
Did he find out?
It's nothing to do with Marko.
We've just been flirting, right?
We've just slept together
a couple of times.
Two actors mixing things up, right?
- Have you seen Marko?
- No.
- Yes ... he went on stage.
- OK. Cheers.
- Jakob, I really like you.
- No, stop. Stop it.
Maybe it's all been too quick.
A month ago I was living with ...
So what?
Now it's us!
And I don't think
it should be any more.
And if I've helped
to bring it to this, I am sorry.
- You're back with Marko.
- No.
Don't be silly.
Tanja, I ...
I love you. I love you.
I know it sounds dramatic.
You're going to have to try
to put it out of your mind.
You can do it.
Best stop now.
While it's still fun
and we're still good friends.
We can't talk about it now.
We've got a rehearsal.
Come on.
I know exactly how you feel.
And we'll talk. Of course we'll
talk to each other. You can phone.
We've got a rehearsal.
How are rehearsals going?
It's hell.
I can't act. I just stagger about.
I don't know what I am doing.
It's as if there's been some
kind of ... shift inside me.
I can't act any more.
Inside you?
What does Marko say?
To me, nothing. He directs
the others and I just stand there.
He ignores me as if
he's offended about something.
I don't know
if he knows anything or what.
Hi, Tanja, it's me again.
Please call me.
We've really got to talk.
I think it terrified her
when I came on so strong.
It was too much.
I pushed things too quickly.
But what can I do?
I think she is fantastic.
I have no choice.
I hope ...
... she's just confused.
- We've got to talk.
- Yes. But not right now, surely?
No, but when?
Look ...
Tanja, come up here.
I have written a monologue for Jakob.
And blocked it.
Jakob, sit in the box.
Lean back.
Tanja, on the opposite side.
This is for you to address to Tanja.
Just read it for now.
Love is cruel.
I have never, ever loved anyone
as much as I love you.
But you won't listen to me.
"We will never see each other again",
you say; "it is over".
I am obsessed by you.
I beg you to stay with me.
I abase myself.
But you don't want me.
It's over, you say.
You'll be able to make it flow,
I know.
- We really have got to talk.
- No, Jakob, I can't face it.
I can't stand it any longer.
I've phoned you 100 times.
What haven't I told you?
Have you gone deaf?
I've explained things to you.
You haven't explained
a fucking thing.
What are you in doubt about?
Tell me again.
I don't love you
and I never have done.
There is nothing to be
in doubt about.
And we've got work to do.
Go away!
Marko? It's Jakob.
- What's up?
- Hi.
- Want a drink?
- Please.
I don't thing things
are going very well.
With me.
In the show.
You are the best director
I've ever worked with.
I had been really
looking forward to it.
I thought
"If he sees me, I'll be good".
If you see something
that can be made to flower, -
- I'll be fantastic. Anyone who sees
me will say "He's so damned good".
But you can't see anything there.
And you don't know what to say to me.
No wonder.
I don't feel anything either.
I think I'm in a crisis with myself.
Some kind of existential crisis.
I don't know what to do about it
as I've never felt his way.
- Or maybe I do know.
- Jakob ...
You've answered your own question.
You know that?
You're asking for help because I
don't communicate with you on stage.
Meanwhile, you talk of
some kind of personal crisis.
You think
they're two different things.
I don't think so.
I think they're the same thing.
I believe we should use our lives,
use ourselves where we happen to be.
In the moment.
And take it with us on stage.
Many people don't have the guts.
But you need to settle up with
yourself and I can't help you there.
Put myself on that stage?
It's only a fucking part.
Right? If I am playing a suicide,
do you expect me to kill myself?
"Fucking part"? What does that mean?
I take it very seriously.
But you don't, it seems.
You thought you could
show up at 12 and leave at 4, -
- go off and have fun -
- and come back the next day -
- and try to set up all the emotions
in the character you're playing.
Use it on stage and I'll help you.
I can't help you until I see
just a little something there.
I have been sleeping with Tanja.
I love her, Marko. Like crazy.
You know that, don't you?
You've known all along.
Right?
Doesn't it bother you?
Frighten you? Hurt you?
See you tomorrow.
You don't care, do you?
You just don't care.
Or maybe it's just part of your plan?
Just as long as you can
do your stupid show!
She doesn't mean a thing to you.
As long as you can do
your fucking show.
You're using us
so you can do your stupid show.
Hi.
Are you drunk?
Yes, Birgit, I've come,
and I am pissed out of my head.
- Perhaps you should go home?
- I think I should stay here.
I have something
I want to talk to you about.
- You stink.
- I am so pleased we had things out.
- Go home. You should go home.
- In a nice, adult kind of way.
- Shall we do a bit of acting?
- Stop it.
Suddenly the bashful virgin?
You're a whore, Tanja.
That'll do, Jakob.
Stop it.
- Cool it.
- Aren't we going to act?
Shall we improvise a love scene?
Let's improvise.
Wasn't that good?
Genuine emotion on stage;
wasn't that the idea?
Well, here it is.
Real life, Marko.
Right in the middle of
your stupid play, Marko.
Dutch courage, Jakob.
Well done.
Maybe something will come out now.
It is about time.
Let it out.
Come on, Jakob.
Let it out.
Can you do that again tomorrow?
Sober?
Are we going to see something
come out of Jakob?
Come on, let it out, Jakob!
Now you're full of Dutch courage!
- Stop it.
- Let me see!
That's good.
Let it out.
Let it out!
That's good, Jakob.
Wow, you're good.
- Wonderful!
- Stop it.
Don't touch me.
Jakob.
Leave it.
It hurts so much.
It hurts so much.
I want to piss all over you.
Don't you see what's happening?
The man is breaking me up.
How dare anybody
talk to me like that?
Of course,
I think you'll regret it terribly.
The theatre can live with it
if you want nothing to do with us.
But it will torment you
for the next ten years.
Right now you are so angry
you don't care; but it'd be stupid.
- He's breaking us all.
- Things are often difficult.
You can decide never to
go through this again.
But if you act this,
it may well be a huge success.
- No. I hope it'll be a flop.
- Because you're six years old.
All right, that's what I am.
I've been so sensible all my life.
But this is the end of the line.
I'm doing what he wanted. "You're
inhibited! Use your emotions!"
Now I am going
to go by what I feel.
- Stop it.
- Do you like that? Emotions!
- Give me a break.
- I don't care any more.
I don't fucking care.
Don't laugh at me.
It's not funny.
- OK, sit down.
- Emotions. Goodbye.
- Don't do this.
- Good luck.
With your ridiculous,
embarrassing, stupid poem.
I am a fool.
Stupid. A wanker.
A little dog to play with.
And I can't do a thing.
How do you feel about those emotions?
It's Marko.
Can I come in?
I want you back in the show.
My mind is made up.
I can't.
I don't want to be
in your sick show.
Did you know that we wanted
to sleep together that night?
Was that why we were meant
to rehearse on our own?
Did you know
I'd always been in love with her?
You were my hero.
Do you realize?
Jakob, sit down.
I want to talk to you.
If you have problems in your
emotional life, find a psychologist.
I don't give a toss.
Wake up, man.
Hey, wake up!
You're not the most blazing talent
I have ever seen.
But you are cool enough up here
because you know there's a price.
Use it on stage instead of lulling
yourself away in your own pain.
And you might even
be really good one day.
Oh, right, you've slept with Tanja.
And it hurts like hell
if you must know.
But I use that pain, Jakob.
That's why I do this job.
It's what it takes. If you don't want
to use your pain, be a bank clerk.
Cut the crap.
"I don't like the pain
and he's cold and cynical".
I want you to come back.
The first night's less
than a week away.
We've a lot left to do.
Think it over and call me tomorrow.
Give me your decision
before 11.30.
- Tanja here.
- It's me speaking.
- I must see you.
- Not a good idea.
- I want you to come over.
- But ...
- I've got to go.
- I want you to come over.
Hi.
I am sorry
everything's turned out so messy.
I want you to come back to me.
He doesn't love you.
He's just exploiting you.
Marko used us
for material for his show.
- Doesn't it make you angry?
- I don't see it like that.
I also think you should come back.
Why?
Because I think
we can put on a really good play -
- and it'll be good for you. I think
you should do it for your own sake.
If I am going to go
on stage with you now -
- I want something in return.
- What?
- You.
I want to sleep with you
one last time.
Come on, Jakob!
- I mean it.
- I can't do that!
I can't! I mean ...
You two have humiliated me.
I've a right to screw you again.
I ... I said I was sorry.
I know you feel hurt.
And I've told you it upsets me.
Come on.
No.
No.
All right, don't.
Do you mean it? If ...
You'll come back to the show
if we do it, if I do it?
And that's a deal?
And that will be it?
And we won't talk about
anything ever again?
Fine.
Love is cruel.
You love another.
I have never loved anyone
as much as I love you.
- We shall never meet again.
- You say.
It's over.
It goes the wrong way.
Love should go backwards.
It should start with a broken heart.
By being left forever.
Why not just get it over with?
After that we have the blazing row
where I force you to choose.
But the next morning we wake up
and everything is OK.
We have breakfast in bed.
Stay naked till late afternoon.
And all our feelings
are superficial.
Then we fall in love.
Everything is a game.
Our blood surges. Every moment is
full of new truths and knowledge.
We get drunk. You come back to
my place and we sleep together -
- for the first time.
Everything feels new -
- and right.
And then, at last,
the first divine kiss.
The first touch.
And we focus more and more on
our preparations for the great event:
First sight.
It happens.
Suddenly there we are.
We see each other for the first time.
- "Hi."
- You say.
"Hi" I say.
And I turn around
and I've never met you.
And I am free.
The next episode
You slept at Jakob's last night?
Perhaps we shouldn't have had it off
just like that, but what the heck?
It's OK.
English subtitles
Jonathan Sydenham