deux orphelines vampires, Les Page #3

Year:
1997
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There is a rumor that there will be

a hundred thousand.

These four days will remain

the most formidable voluntary holocaust

in the history of the world.

In fact, it's a ritual communion

of flesh and blood.

Blood which will run

without interruption,

flesh of sacrifices to be devoured

by the faithful at the foot of the pyramid.

There are at least

20,000 victims the first day.

When the thousand steps are entirely red,

then Quetzalcoatl can return.

My throat tightens from desire

and moving anguish.

The first captive is at the top.

The priests grab him,

lay him on the stone.

The emperor strikes him,

opening his chest.

He plunges his hands into the rib cage,

pulls out the heart and brandishes it.

It's still beating

above his head,

bedecked with multicolored feathers.

Everyone's in awe.

A huge cry rises from the crowd.

The emperor raises

the dripping trophy to his mouth,

bites, tears, rips it to shreds.

The people raise frantic screams

to heaven at this spectacle.

But already, another man

is stretched on the stone.

The knife is raised, then lowered.

This time,

the priests rip out the beating heart

while servants topple over

the heartless body to replace it with another.

The hearts are thrown

a few flights down,

where nobles and the privileged

grab and devour them.

The bodies are cast

to the bottom of the pyramid.

There, the people dismember them.

Women take the pieces,

and that night they are roasted

or boiled for the cannibalistic meal.

We begin to distinguish

the tiny red strands that,

drop by drop,

stain the highest steps of the temple.

Tonight, by sundown, they'll all be red.

All of them.

More than a thousand.

And at the end of the last day,

the staircase will be nothing

but a carpet of blood

running from the top to the bottom.

Carpet. A carpet flowing

with a sickening odor

that's exciting at the same time.

I won!

I won!

You're alive, Louise.

My blood saved you.

Henriette, don't cry!

Henriette, I love you.

Look, we're still alive!

Both of us!

Forever!

Do you hear, Henriette?

Alive forever!

We won't have a mishap.

Look, I'm alive.

Don't cry!

The blue light is leaving.

The whole night's passed.

The day's coming

and taking away my sight.

Louise, I can't see you anymore.

- He's sleeping.

- We must get rid of him.

- Regain our freedom.

- He's a constant danger for us.

- If he found out -

- It'd be terrible. He might kill us.

Come, let us have a drink.

It'll help us find a solution.

We could slice him

with the saber in the living room.

He's big, you know.

It'd be better to smother him

with a pillow while he's sleeping.

We're not strong enough.

We need a way that's easy and quick.

We're so stupid!

We only have to bite him

and suck his blood until he dies!

And is he going to let us?

Sabotage his car.

Push it into the Seine.

Not as good as blood.

But it's stronger.

We'll find a solution.

Look at this.

It's beautiful!

The blood running on the walls.

And on the ground.

Blood everywhere!

It's magnificent!

Superb!

It makes me thirsty.

Very thirsty.

Oh, the blood is so red!

And how it must run.

It's our life

that's painted on these pages.

Our JOY-

Our gluttony.

I'm happy to observe

that your sight's improved

so much that you're able to look at a book

at nearly 2:
00 in the morning.

Oh, Father, what a pity

you discovered our secret now.

We were guarding it jealously

until your birthday on the weekend.

It's really extraordinary what's happened.

We began to distinguish

the shape of things,

bit by bit.

Then we knew our sight was returning.

At first we were so afraid

our blindness would return.

My children.

- My poor children.

- It's not true sight yet.

Just a blur.

But tonight, we were so anxious,

we came downstairs to see a book.

It's like a miracle, Father!

I could read! You understand?

And both of us.

It's the same for both of us.

We wanted to be certain

before we told you.

We were going to wait

until your birthday.

If the miracle persisted on that day,

we would have read a poem for you

that we've been secretly composing

by ourselves since last Thursday, as a gift.

A good breakfast

will help us put things right.

Afterwards, I'll examine your eyes.

How could I have doubted you?

Father, may I have

some of the jam in the cupboard?

Of course, my dear.

You found the jam, my sweet angel?

Go on.

He won't be able to get up.

If no organs were cut, he could still live

a long time with the knife stuck in him.

I hit him hard.

He hasn't got much longer.

I don't hear anything.

Maybe he's dead.

He won't bother us anymore

with his damned pity!

There's no pity for vampire orphans.

They'll love us for what we are,

or they'll crush us!

We'll slit their throats.

Let's get out of here now.

We'll set a fire before leaving.

They'll only find one burned body.

They'll say it was a robbery.

We were scared and ran away.

We saw nothing because we're blind!

Go to bed, Sister Martha.

You did your rounds, and it's late.

And yourself, Mother?

Me?

I must pray more.

I think I can guess, if I may,

the object of your prayers.

Really?

And what do you think it is,

Sister Martha?

You are asking, as I do each night,

for the joy of once more

seeing our little dears.

Your heart has guessed right.

I miss our two little lambs.

But something tells me

we'll see them again.

You and I, Sister Martha.

You and I will both

see them again soon.

May God hear you.

What do we do now?

It'll be day soon.

We'll hide in a grave until tomorrow night

and then go back to the orphanage.

- Do you think our room is still empty?

- Of course!

Our dear mother superior

wouldn't give it to anyone.

In any case, Sister Martha

wouldn't let her do it.

Hush.

Someone's coming!

- Someone whose throat we can slit?

- Or drink.

- A party girl who's drunk?

- Maybe.

I think it's something else.

She's an outcast.

A creature of the night

like you and me.

- We're unique! Kill her!

- Wait.

We must know.

We're the vampire orphan girls,

and we're in our home.

What are you doing here?

Are you one of us?

I am what I am.

I come and go

in places like this cemetery.

My wanderings are unending.

I seek nourishment.

You -

You drink the blood of humans,

but I,

the beast, the vulture,

the hyena that I am,

I feed on cadavers,

dead of dead flesh.

A ghoul!

We live off the living.

She eats the dead.

Go, poor, unhappy girls.

The dawn's coming.

My nourishment - I get it from the earth.

I don't like to be seen.

Go away!

Good-bye, my little vampires.

When you come back out at dusk,

I won't be here.

The ghoul never comes

to the same place more than once.

But this earth - I feel it!

I can feel that I shall

have my fill of new cadavers.

Another day coming to an end,

and the ritual begins again.

Turn out the lights,

then return to my room and pray.

Around midnight, make my rounds

in this silent orphanage.

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Jean Rollin

Jean Michel Rollin Roth Le Gentil (3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre. His career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971). Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982).His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression and poetic dialogue, their playful surrealism and recurrent use of well-constructed female lead characters. Outlandish denouments and abstruse visual symbols were trademarks throughout his 'dark fantasy' career. Remarkably, in spite of their seeming high production values and precise craftsmanship, his films were made with very little money, and often under crushing deadlines. In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, a process he kept on going up until the 1980s. more…

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