DOUNA LIM & THEO PESSO

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En fait, j'espérais…00:03:22,463 --> 00:03:23,874
On peut le voir comme ça.00:03:30,347 --> 00:03:33,514
Je dois te laisser. Je sais.00:03:33,726 --> 00:03:36,561
Je m'en occupe demain.00:03:43,696 --> 00:03:47,563
Hé Syd, je fais des cocktails.00:03:47,783 --> 00:03:50,239
Oignons ou olives ?00:03:51,412 --> 00:03:52,907
Olives.00:03:54,040 --> 00:03:56,792
Désolée d'être en retard.00:03:57,002 --> 00:04:01,214
On a reçu plein de demandes.
-Tu t'en occupes encore ?00:04:01,424 --> 00:04:04,093
Ils ne devaient pas
embaucher un stagiaire ?00:04:04,302 --> 00:04:06,840
Si, mais ils trient sur le volet.00:04:07,931 --> 00:04:10,885
Pour un stagiaire ?00:04:11,101 --> 00:04:15,431
Ils trient sur le volet
et toi, tu travailles la nuit ?00:04:18,151 --> 00:04:21,983
Leurs priorités sont merdiques.00:04:22,197 --> 00:04:24,866
Personne ne m'a obligée à rester.00:04:25,075 --> 00:04:27,566
Je sais, ce n'est pas
ce que je voulais dire.00:04:27,786 --> 00:04:30,622
On l'aurait cru, pourtant00:04:30,831 --> 00:04:36,039
On ne traite pas
une rédactrice comme une stagiaire.00:04:36,254 --> 00:04:39,754
C'est humiliant.00:04:39,967 --> 00:04:44,510
Rédactrice adjointe.00:04:46,432 --> 00:04:50,098
Tu vois pas que je te défends ?00:04:50,312 --> 00:04:54,524
Pourquoi ? Personne ne me malmène…00:04:54,733 --> 00:04:56,975
Sauf toi.00:05:04,160 --> 00:05:05,987
C'est un bon livre ?00:05:06,204 --> 00:05:08,956
Oui, bouleversant.00:05:12,002 --> 00:05:16,380
Félicitations pour ta promo.
-MerciI miss my lads With all the coins Makes me smile For a penny sly But it doesn't matter No more The lads are gone With their bright Laughter hoe"C'est quand même con que tu ne puisses pas manger de la glace à cause de ton diabète. Mais tu détestes le chocolat de toute façon..."
"J'aurais pu en manger si elle était à la fraise, c'est ma préférée."
"Écoutes ça sert à rien d'en parler. Le docteur a été assez clair là-dessus."
"T'as raison."
"Tu veux aller te promener sur la plage?"
"C'est une super idée !"
"Les luminaires se répartissent en trois catégories. Intérieur domestique, extérieur domestique et professionnel. Ensuite, il y a plusieurs sous-catégories telle que lampes de plafond, lampes à abat-jour, appliques murales, chandeliers modernes, chandeliers classiques, éclairages à crémaillère, plafonniers, lampes à suspensions et lampadaires. Répètes-les-moi."
"Appliques murales, plafonniers, chandeliers classiques, chandeliers modernes, luminaires, lampadaires, lampes de bureaux..."
"Et lampes à suspensions..."
"Et lampes à suspensions... et luminaires, les luminaires."

SUSAN: Young professional. She is naive. It is difficult to tell her age. She could be 25 but she could also be 52. Her face is pretty damaged, but her eyes are still full of innocence.

EMPLOYEES: They are between 5 and 15 people. They always move as a group. They are protocol. We can almost consider them as Siamese.

Three guards:
GUARD 1: Sympathetic but villain.
GUARD 2: Sympathetic but bizarre.
GUARD 3: Friendly but suspicious.

BLIND MAN: Guardsman of the building. He never speaks. He takes care of the animals.

Car – Interior – Night

SUSAN drives by night. It’s raining. She takes out from her hand- bag a card with FACA’s address. It’s written: Foundry for Altered Computor-monitored Architecture. Cut. Once arrived in front of the main building, she’s hosted by a blind man. She enters the institution where she has been invited to come archive their telecommunication machines. When she enters the building, something strange happens. The walls were wriggling on the surface, almost like billions of ants milling in waves of micro-movements. The building is built with antique pillars similar to a 16th century villa with baroque moldings on the ceiling. Curiously the rest was very minimalist, with no single golden frame painting, and the walls were still wriggling... At the end of the first corridor she notices a cartel on which is written: World’s First Widest Pannel of Deep Fake Landscape Operated By FACA. Zoom reframes the wall with antique pillars, we can almost distinguish some chandeliers. Zoom reframes in the wall and the wriggling becomes more and more intense like a constant noise. Cut.

Opening Credits

Double doors open. Seven employees of the building are sat on a table which is disproportionately wide, which make them look terribly petit.

(LATER ON...)

Suddenly, three guards sat aside in the darkness applause. They applause continuously with such pressure that it becomes unbearable. Silence. SUSAN who couldn’t speak at all during this ceremonial speech, grasps the box that looked like it had been waiting for her. The box contains a clean towel, a soap not yet opened, a hair dryer and a set of keys (probably with a label on it written Guest House). She leaves the room with the three guards accompanying her.

Corridor – Interior –
(Deep Fake panel walls projects an image of a window.
Out of this window is a galaxy)

SUSAN staring at the wall, appalled: What a beautiful light...

Something strange is happening in this sequence: a sort of cringy Caring Space. The guards stare at her, smiling like children do.

(AND ON, AND ON ,AND ON...)

Room – Interior – Night

SUSAN wakes up. Calm and Darkness. She leaves her room, the camera stays. A light appears in her room and makes some tentacles of light rays, it moves very slowly. The mysterious light tickles in an irregular way. (Music) She wanders through the corridors of the building in her dressing gown, barefoot. She finds a thin door slightly open with low light shades coming from inside. (Music gets intense) She enters and finds herself back through layers of heavy velvet curtains, when she sees a glaze, like she’s never seen before. She is in a room lit by a giant white moon. The air is thick. It’s so hot that her skin is slippery and gleamy. A drop of sweat drips from her forehead. All of the employees and guards are here too and they are wearing these strange big glasses (between 3D and VR glasses). They are staring the moon and they all whisper something at the same time. Some are crying, some are in some state of extreme pleasure, some are breathing very heavily, some are dripping on themselves. From their static bodies are ripping out some screams of multiple spasms and orgies. At that moment SUSAN sees BLIND MAN, he’s the only one who’s not wearing these mysterious glasses.

SUSAN: Please tell me what do they see?

(...ON, AND ON,AND...)

Room – Interior
Artificial light: White infinite room

SUSAN is still laid on her bed. Her and her clothes have no trace of burning. Silently, she stands up, passes her hand over her skull and starts walking again.

SUSAN mono-chord voice:

REGION 7

AOI:
Michael, vous allez utiliser une formule vous permettant d’énoncer de votre propre déclaration de capacité. ‘Je suis...’ puis complétez un mot exprimant un talent. Puis ‘Par exemple...’ et complétez par une réussite. Répétez et complétez.

PROTO:
Je suis créatif. Par exemple, j’ai créé une nouvelle ligne de produits.

AOI:
Quand vous parlez, parlez clairement. Essayez de parler plus lentement que d’habitude. Restez centré sur un sujet précis. Utilisez l’humour seulement si c’est approprié. Soyez animé et optimiste. Utilisez vos mains. Ensuite, assurez-vous toujours d’être vêtu de façon appropriée. Primordial. Si vous ne connaissez pas la réponse, dites-le. Expliquez ce que vous espérez réaliser. Dites ce que vous allez dire et ensuite, dites ce que vous avez dit. Il y a un ordre d’importance. Commencez par le plus important. Soyez cohérent. Réduisez au strict minimum. Anticipez les questions et incorporez les dans vos réponses. Donnez aux gens l’occasion d’exprimer leur avis. Incitez à poser des questions. Gardez pour vous les informations confidentielles. Sachez faire la différence entre un projet et un programme. Les propos qui ne sont pas destinés à tous n’atteignent personne. Prétendez toujours croire ce que vous dites et les villes échapperont à la destruction. Vous êtes à la disposition de quiconque. Ne gaspillez pas vos jours. Vous connaissez les modalités de cet apprentissage, rien n’y est laissé au hasard. Si vous souhaitez être une femme, de vos mains cachez votre visage. Ophélie vous prêtera des vêtements. Il faudra sans doute insister, soutenir d’avan- tage votre nuque. Une tenue n’est pas juste un assemblage d’un haut avec un bas. Il faut savoir se vêtir pour se dévêtir. Souvenez-vous des paroles de Valmont : quand on contemple la destruction, on voit la parade des jeunes culs nous rappeler quotidiennement que nous sommes éphémères. Vous voilà instruit. Entre vous et moi, rien a changé. J’oubliais, apprenez deux ou trois mimiques, les réactions spontanées. Et quand vous quitterez votre cellule les pieds par devant, n’oubliez pas de faire venir le service de nettoyage.

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