Interview with the Vampire - Season 2 Episode 6
Interview with the Vampire - Season 2 Episode 6
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Short filmTranscript
00:00Stay tuned after the show for an exclusive look inside the episode.
00:27Pieces of my life gone.
00:29I knew who I was without those pieces.
00:33No vampire must commit to writing the history of the vampires.
00:36Santiago wants to be coven leader.
00:38Others will follow him. You should think to leave.
00:41I'm staying in Paris, with you.
00:45You sold me a dress.
00:47I liked you.
00:48Something broken in me.
00:49Like I want to go bang.
00:50Go bang.
00:51I'll let you whine and have your say.
00:53Most in my position would treat you no better than you treated your maker.
00:59And the friend you made, he will not see again.
01:01His name is Raglan James.
01:03You're not the first to attempt this, Mr. Malloy.
01:06I could give you the names of four others and they're all dead.
01:08Or undead.
01:09Four Fred Staggs in the house.
01:11You made me look foolish.
01:13Louis!
01:14Is that our original interview?
01:15Both our memories cut out.
01:17Same precise edit on two brains.
01:59How did I get the tapes?
02:03There was no postage on the package.
02:06With the tapes.
02:09Rashid.
02:11The bylaws of my co-op say only the mailman can have the key that opens up all the mailboxes.
02:17So did you guys get to my mailman?
02:20Huh?
02:21I usually give him a little something for Christmas, but I mean...
02:25You know, I mean, if he's in on it, then...
02:29I'm thinking, do I still have that obligation?
02:33Rashid?
02:44I'm going to the bathroom.
02:48I'm gonna make a run for it.
02:51Rashid.
02:52Rashid.
02:54They're gonna turn you into broth bags because you couldn't hold it.
02:56Yes, sir.
02:57Excuse me.
03:00Hello?
03:03They sent a chaperone. I'm sorry. Go away.
03:06Rashid?
03:07He loves the hand soap they use here.
03:09I wouldn't worry too much about Rashid.
03:12I've been dreaming about the mackerel here.
03:17The two Barcelos would fit.
03:19If we replaced the couch.
03:21We would?
03:22The couch, and the table, and the Antio Javelina.
03:26Then, then, then, then.
03:29How about the Ai Weiwei wallpaper with the Hockney lemons?
03:32Like we're a Ferndale hotel lobby?
03:37Okay.
03:38What do you think we should do with the wall?
03:41How big is the Talamasca?
03:43Who funds you guys?
03:45Do you work with Nation States?
03:47That's why you called me here?
03:49You had pictures of me in 1973.
03:52Pictures of them? You were a fly on the windshield.
03:55Can you protect me?
03:56Ah, from being killed?
03:59No. We're particularly poor at keeping our assets alive.
04:02I'm not an asset.
04:04You messaged me. I showed up.
04:06The mackerel was better last time.
04:08I want to get out alive.
04:10You want a book.
04:13I want both.
04:15You fear Armand.
04:17You should fear the other one.
04:19What about a selection of Fred Steins?
04:22Tastefully framed.
04:24They've been sitting in my albums all this time.
04:26Seems a waste.
04:28Or better not to have so tangible a reminder of Paris up on our walls.
04:33An interview about Paris is a more tangible reminder of Paris than a few photographs.
04:41Leave it there, then.
04:43Leave it there, then.
04:45Wait for revelation to enter the room.
04:49We can help you find a publisher.
04:51I have a publisher.
04:52Your publisher will get a phone call before you turn it in.
04:56They will pay you handsomely for your manuscript and bury it.
04:59You won't even see a galley proof.
05:02It's all going to come out soon enough, and there's a number of us in the Order who think
05:06better it happens with Daniel Malloy in paperback than the bumbling governments of the world.
05:13What's the ask?
05:14My superiors have a list, a few hundred questions they'd like you to weave into your interview,
05:19and I'm professionally charged to press you to include them.
05:24And apart from your charge?
05:26I think it would be disastrous.
05:28I think you've been masterful.
05:30I think if I could swap bodies with you, I'd be running the Order by now.
05:37How's the soap, Agent Rashid?
05:41We should be returning now.
05:43Mr. Malloy would like to stay alive, Rashid.
05:46Then perhaps he should have thrown the tapes away when he found them in his mailbox.
05:54Oh, that's very kind of you. Thank you.
05:58I'm leaving you.
06:00I wish to tell you that now.
06:03It's all as much.
06:06And I thought as well that you'd make a flowery announcement.
06:11Tell me what a monster I am, what a vulgar fiend.
06:14I make no judgment of you. I am not interested in you.
06:18I'm interested in my own vampire nature now.
06:21What do you think a vampire is?
06:23I don't pretend to know.
06:26What is it?
06:28A flaccid, full-length play based on nothing other than the superficial observations of the vampire Sam.
06:34His meditation on vampiric existence and enduring.
06:37Strange. I remember you racing back from rehearsals to tell me how ambitious the conceit was.
06:43Well, I was following your advice, wasn't I? I didn't want to bring the work's anxieties into our home.
06:47Or you're recalling the events with bias because of the machination surrounding it.
06:55Lead with a velvet glove instead of an iron gauntlet was the advice.
06:59Indulge the buffoon were my words.
07:02Feed Santiago his own ego back to him.
07:05And smother mutiny with praise.
07:08What does it mean to die?
07:13When you can live until the end of the world.
07:17And what is the end of the world?
07:19Except a phrase.
07:21I've lived now in two centuries.
07:23Seen the illusions of one utterly shattered by the other.
07:27Been eternally young and eternally ancient.
07:31Living moment to moment in a way that made me picture a silver clock ticking in a void.
07:39Line?
07:40As a painted face.
07:41Oh, a painted face, yes.
07:43Let's stop there. Take the passage again, Santiago, and a foot forward, downstage.
07:48It's quite lovely, Sam.
07:50Even more what you're doing with it, Santiago.
07:54Thank you, maître.
07:56Maître.
08:06What does it mean to die?
08:08When you can live until the end of the world.
08:10I thought I was being clever, nailing him to the stage.
08:14And what is the end of the world?
08:17Except a phrase.
08:18My eyes on him till curfew every night.
08:20I've lived now in two centuries.
08:22But the play had no roles for women.
08:24And petulant members of the coven were free to roam the night.
08:27I walked by the Théâtre de Fortnight ago.
08:30I saw that it was dark.
08:32Yes, the theatre is updating its repertoire.
08:35Isn't that exciting?
08:37For those with roles in the updated repertoire, obstreperously exciting.
08:42It's why we sit across from you this evening, Pierre Roger.
08:46Monsieur Lianco.
08:48The gentleman whose wealth has made our sacred art possible for the last 150 years.
08:55Maître wishes to invite him to attend the premiere.
08:58Ah, a lovely mission.
09:01Of course, the difficulty is...
09:04communications with your esteemed patron occur only one way.
09:09Asking when was the last time they were in communication.
09:12May we ask, when was the last time you spoke with him?
09:15Hard to say. Communications are irregular.
09:19Has there been a lapse in communication?
09:22There hasn't been a lapse in communication, has there?
09:25On that point, I haven't been authorised to divulge it.
09:28Get on with it.
09:30The day, the hour, the minute you last spoke with...
09:34Le Stade de Liancourt.
09:37Telegram.
09:39New Orleans, Louisiana, early February, 1940.
09:44Si, Monsieur Roger.
09:46Illuminated by light.
09:48In retrospect, the buffoon was in the audience.
09:51Like the light by which God made the world before he made light.
09:58Scribbling in the margins, oblivious to the conspiracy uniting around him.
10:02Ticking, ticking, ticking.
10:05The precision of a clock in a room as vast as the universe.
10:14Bravo! Bravo! Bravo!
10:24Really? Yes.
10:26You were an ancient vampire. You could read any mind you want.
10:29I was in love.
10:31You buy that?
10:33I buy that he'd been in power a long time.
10:36You can get lazy.
10:38It was love.
10:40Okay.
10:42And love.
10:44He was loving in those days? Sure.
10:47Love.
10:49Rashid, did you and Mr. Malloy talk to anyone during dinner?
10:53Just the chef when ordering, sir.
10:55Were you with Mr. Malloy the entire dinner?
10:57He used the restroom for approximately five minutes.
10:59Had a piece of halibut that still wanted to swim.
11:01You were not to leave Mr. Malloy alone?
11:03He didn't. Stood by the hand dryer like a creep.
11:06Why do you ask?
11:09Love.
11:18Diaries are friends of last resort.
11:22I have found one not made of paper and glue.
11:26Fuck these vampires.
11:30That's your last entry unless you're sitting on more of those ripped-out pages.
11:35You have everything we have?
11:38Unless you're sitting on something behind your encrypted laptop.
11:42Madeleine.
11:44Claudia's immortal beloved.
11:46Not yet immortal.
11:48Note to self, everything related to Claudia from this point forward is without written corroboration.
11:54Just our memories of her.
11:58However porous they come.
12:04A little more vermouth next time, Rashid?
12:06I can make another.
12:07No, it's good.
12:09It's just his were better.
12:37Good evening, Mrs. Métavier.
12:43Come on, make your drawings very ingenious.
12:46Stop laughing. We stop coming back, okay?
12:53I'm going to the bathroom.
12:55I'm going to the bathroom.
12:57I'm going to the bathroom.
12:59I'm going to the bathroom.
13:01I'm going to the bathroom.
13:03I'm going to the bathroom.
13:05I'm going to the bathroom.
13:23Let me go!
13:24Let me go!
13:26Come in!
13:28Let me go!
13:32Come in, bitch!
13:34Madeleine is not well.
13:35We attacked her, did you see?
13:52Write everything you want.
13:54Your neighbors don't care.
14:04Let me go!
14:05Let me go!
14:07Let me go!
14:09Let me go!
14:11Let's see what the last alarm did.
14:34Let me go!
14:35Let me go!
15:05What did you do?
15:07Who did this?
15:11I don't know.
15:16What did you do?
15:18I don't know.
15:20You're not well.
15:35You're not well.
15:41You're not well.
15:43Don't run because a lot of noise just happened in the middle of Paris.
16:07I got to clean up.
16:08I can do it fast.
16:10I can do it right, but if I don't clean up, you could be in some trouble.
16:33That's good.
16:36Sit down.
16:45I'm going to clean up, and then we can talk.
16:53Vampire.
17:09Where's the light switch?
17:10Hey, you see Ramon?
17:30In his office.
17:31Thank you.
17:32Hey, top of the morning.
17:39I got that vault.
17:48Different brushes, hands, stains, rubbing, scratching, gestures of anxiety, but then
17:54the blues, like little cigar ends, like portals to the sky beyond.
18:01Think he got sick on the canvas?
18:03Watch.
18:04I'll sell it for five times the price in a year.
18:07Thirty times if he keeps drinking and dies.
18:09And what then?
18:10Reinvest.
18:11More vols?
18:12Mm-hmm.
18:13More vols.
18:14More Mathieu, Solage, real estate, dividends, stocks with compound interest, maybe a plane.
18:22And who is going to fly your plane?
18:24I'll fly it.
18:25The first vampire capitalist?
18:28The first vampire pilot?
18:29Why not?
18:31Take off your clothes.
18:34I am going through, uh, Sam's new pages.
18:36Clothes off, face down in the coffin.
18:37You can read them to me while I fuck you.
18:49Happy next to everyone, son.
18:53Let's go, sonny.
19:01Probably really shallow now, but not, not insightful.
19:13Human death and all this variety.
19:17What's blood taste like?
19:18You've bit your lip before.
19:20No.
19:21Um, what's it like to drink blood?
19:25Is it like drinking life itself?
19:29Warm?
19:31Thick.
19:32It's, it's not the answers to life's mystery, it's food.
19:35And eat it.
19:39And me?
19:40Right now?
19:45I can't lie.
19:46I watch it slide along your veins.
19:57Take a sip.
20:01No.
20:02Why not?
20:03No.
20:04Because once she starts, you can't stop her.
20:07Is the dressmaker you supposed to run out of time?
20:12Um, yes, I'm the forbidden friend.
20:15Ellen, this is Louie.
20:16Louie.
20:17She's reading one of your diaries in my coffin.
20:19I won't tattoo.
20:20She says another word, I'll break her arms and throw her out the window.
20:23Pull up a chair.
20:25Let's start again.
20:27I'd like a couple months.
20:29Louie.
20:31No, you don't tear things down.
20:32This is Madeline.
20:33Well, fuck things up.
20:34I had you covered.
20:35Sorry about the dress I wore a while back.
20:36She's, she's funny, she's blunt, and it's a long story, but I killed in front of her.
20:41Of course you did.
20:42And she sat in the corner and watched while I bundled up bodies.
20:45Didn't cry.
20:46Didn't get flustered.
20:47And since then, we've been talking.
20:50Is it romantic?
20:52No.
20:53No.
20:54Not yet.
20:55You were Lestat's, now you're Armand's.
20:57Or Armand is mine.
21:01I've been a third all my life.
21:04Not saying that to fight, just saying that it's true.
21:08I feel like I get to pick one thing for myself.
21:15And it's her.
21:17A weird white lady I met by happenstance.
21:21A weird white lady I met by happenstance.
21:43You want a companion?
21:46Um.
21:49She does.
21:52Yes.
22:00Last time I tried those young boys back in, they all died, Louis.
22:07I'm too small.
22:09I never made one before.
22:11I'm not sure if I can.
22:12No.
22:13Not you.
22:14Not, not Louis.
22:16I'm Lestat's blood.
22:17I wouldn't want that for anyone.
22:18But good enough for us.
22:19Not good enough for her.
22:21She swore an oath.
22:23Trampled on the laws and I am to reward her for it?
22:26To every vampire dressmaker?
22:28That bitch at the moon, mock you in their coffins, but she never fit in.
22:32They won't miss her.
22:34You think you're happy with me now?
22:36Can you imagine me without the burden of her?
22:42Paris is yours, Maitre.
22:44I ask for this.
22:46Respectfully.
22:49Respect comes without a shield.
22:52You're a manipulator, Claudia de Lioncourt.
22:55No.
23:07Close your minds.
23:09Both of you.
23:11I'll know it if you haven't.
23:16You'd like to be one of us?
23:19No, I'm going to be with her.
23:21But you, you can fuck off.
23:24They always think they're different.
23:26Stronger.
23:28Superior.
23:32Until loneliness arrives.
23:34Sir, I've been alone for a long time.
23:37I'm not alone.
23:39I'm not alone.
23:41I'm not alone.
23:43I'm not alone.
23:44I've been alone for a long time.
23:46You'll be a monster.
23:50If you make me a monster, you'll turn me into what I already am.
24:14Without the burden of me?
24:17I said it to get him through the door.
24:25Did you mean it?
24:27Does it matter?
24:29I got the result.
24:32Getting results?
24:34Louis Delac?
24:37Is that what you found when you went looking for yourself?
24:40Shortcut to the end of things?
24:41What's your nurse talking about?
25:12I'd kill on the spot.
25:14Weak at first.
25:16And occasionally I'd give myself to my appetites.
25:19And when the last vestige of your time would have disappeared?
25:23Cars, hairstyles, beliefs.
25:27How will you continue?
25:29Young man, there's been a war.
25:34Claudia, he thinks there's something left of my era.
25:40He's going to say yes.
25:42He's going to say yes.
25:44You're stronger.
25:45I can feel it.
25:47I am.
25:49Harder too.
25:51But you got to give up something to get something.
25:58He's going to say yes.
26:03Thank you.
26:12How are you going to survive the rest of your life?
26:20The man who lived across the street?
26:23The Gestapo came looking for him.
26:26We heard a gunshot when the car turned at the corner of the street.
26:30And the woman who lived further down?
26:32She was starving in her room.
26:34She was wearing trashy clothes.
26:36She was getting skinnier until one day...
26:38I looked out the window and she was there.
26:40She was wearing chic clothes.
26:43I could see it in their eyes.
26:45As if they were about to give up.
26:47And I survived.
26:49I followed my instincts.
26:51I found the love I needed.
26:53Even when it was a dangerous love.
26:57And I have a gun.
26:58And I have a gun.
27:29Maybe she will.
27:34Maybe she won't.
27:37You don't know.
27:40Maybe I'm the one she needs to survive.
27:49He said no.
27:51I said I would not do it.
27:53Put her in the bedroom, put her only when it's hot or convenient.
27:57That's how I took it.
27:59What was it?
28:03He had never made one.
28:05What?
28:07I have never made a vampire.
28:09You were a 500-year-old vampire.
28:11You led the Parisian coven for two centuries.
28:14And he hadn't told me.
28:16I did, once. He didn't hear it.
28:18He didn't? No.
28:20The idea repulsed me. Repulses me.
28:23Well, at least we can agree it was a disingenuous act.
28:26I went in there hoping I did.
28:27That's an outrageous way with your mind made up.
28:29Louis' opinion.
28:31Claudia's opinion.
28:33Let's see, let's see.
28:38Fuck these vampires.
28:45What I've learned, I've learned from draining men.
28:49Reading their thoughts.
28:51Not from books.
28:53I never went to school long enough as a mortal.
28:55You do not know your vampire nature.
28:58When I make a guido, Gatesy, he'll tell you the same.
29:01What if guido never shows?
29:03Santiago, where is your back to the audience?
29:05I've got an impulse.
29:07It doesn't work. Turn around.
29:09But if we stage it in the round?
29:13And where shall we put the audience?
29:15Behind the fucking projection screen?
29:17What's up your arse tonight?
29:19Is your companion stuck up there chewing on your inner bits like a hamster?
29:25Claudia, can you respectfully find another object to buff?
29:35Always a yes, Major.
29:39Projections are our aesthetic.
29:41Or a crutch.
29:43I am the director directing. A play is a map for production.
29:46No, a play is the script.
29:49And there are no mentions in this script of projections.
29:53That's your cue, Sam.
29:56It's a work in progress.
29:59Oh, I see.
30:02Pick it up, where we left off.
30:04Well, if it is a work in progress,
30:07can I just ask, when the fuck is guido arriving on the stage, please?
30:12He doesn't. He can't. He mustn't.
30:15Where we left off, Santiago?
30:17Guido is hope. There can be no hope.
30:19You want to write poetry, write poems.
30:20This is a stage.
30:22We perform plays on a stage.
30:24Is this you honouring the playwright?
30:26Not prose poems or fucking maps.
30:28And plays require events, Sam.
30:30And there are no events in your shitty little play.
30:33And Quang and I are bloody dangling up here.
30:35That can be remedied!
30:37Gustav!
30:39We do horror shows so we can eat people.
30:42You're fangless!
30:44I love your work, Sam. Apologies.
30:48Well played, matron.
30:50He summoned me.
30:52There's a script on stage. It's yours for the moment.
30:54In a round, humans on stage.
30:56Ignore him.
30:58He'll be back.
31:02The Berlin blockade ended in May.
31:05The Geneva Convention was agreed in August.
31:08Some of the front pages from that year.
31:11But if you look in the filler,
31:13in the back pages,
31:15strange crimes reported.
31:18A telescopic lens stolen from the observatory at Meudon.
31:24A film company shooting the crime film Bordeaux-Orient
31:27delayed when its inventory of colour film stock is snatched.
31:31A gang of drunkards hanging off the side of the Eiffel Tower.
31:35All facing south by south-west.
31:38All muttering in unison.
31:41Gone by the time the film was finished.
31:43Gone by the time police arrived by elevator.
31:46Crimes all left unsolved.
31:49A thousand humans arrive in Paris, each carrying a suitcase.
31:52What's one more vampire?
31:54Why are we still talking about this? This will be behind us.
31:56I'm not satisfied with your answer.
31:58Those we make ourselves will always despise us for it.
32:01Celeste and Estelle.
32:03They're inseparable.
32:05Merdem, Basilique, Planche.
32:07That's a tight band.
32:09And he made you and Claudia.
32:13You're going to do it?
32:15Yes.
32:17When?
32:19Tonight.
32:21It's forbidden.
32:23Claudia does not want his blood.
32:25She doesn't have an alternative.
32:27We could fail.
32:29The woman could turn into one of those drooling revenants you saw back in...
32:32Mm.
32:42You shouldn't do it.
32:44You shouldn't tell me in my mind.
32:46I...
32:48I cannot keep it closed any longer.
32:50I want you to come.
32:52I want you to witness.
32:55Why?
32:57Because...
32:59It could be beautiful.
33:00We can bring one in a good way.
33:07Are you asking or making me?
33:15Okay.
33:19I'm sorry.
33:21It's okay.
33:24It's okay.
33:26Make sure we're not bothered.
33:28Make sure we're not bothered.
33:30Yeah?
33:58Oh, I like this song.
34:00My heart is an island bird.
34:04I've never been to an island.
34:06Well, once.
34:09On a lake, surrounded by carp.
34:12I don't like carp.
34:14I don't like Chardonnay.
34:17This feels right for my life.
34:20I'm going to go crazy if we don't start.
34:22Yeah, me too.
34:28Ellen,
34:30if you get scared,
34:33you just look at that light.
34:36Listen to my voice.
34:38I won't let anything go wrong.
34:40Don't worry about the blood.
34:43It's the blood that made you.
34:58Madeline.
35:13Madeline welcomed my fangs.
35:16The lamb smiling up at the wolf.
35:20With unsettling passivity.
35:25She watched the lamb while I fed on her.
35:31That's good.
35:33That's right.
35:35You're turning cold now.
35:37That's good too.
35:39And Claudia guided her softly
35:41down the path.
35:43Down the dark path.
35:45Just hold on to my voice.
35:46It's okay.
35:53It's okay.
35:59It's okay.
36:16It's okay.
36:23Claudia drank with reverence.
36:28I drank with
36:30obligation.
36:35Disjointed fragments of Madeline's life
36:38filled my head.
36:40Carried
36:42on the warm current of her blood.
36:45The pleasures of a
36:47sly coupling.
36:54The joys of a sunny afternoon.
36:59The anguish
37:01of an unexpected death.
37:12The rage
37:14and humiliation
37:16of a trial by mob.
37:29But amongst the pastiche of war and desire,
37:33beauty and damage,
37:35I saw Claudia.
37:39In an impossible afternoon light
37:41she could never survive in.
37:42Claudia,
37:44as Madeline,
37:46perceived her.
37:48Resplendent.
37:51Rendered
37:53even more beautiful
37:55by her beholder.
37:57And I knew then
37:59with all certainty
38:01she would be a better
38:03companion to Claudia
38:05than I ever had.
38:08I tore my wrist.
38:09And fed her the gift.
38:40Did she take it?
38:45Yeah.
38:47Yeah, she is.
38:49They're both
38:51on their way.
38:54I told them to get out of town.
38:56They're out of town.
38:59And I know that
39:02because I can feel her.
39:05Madeline
39:07Madeline
39:09this
39:10stranger
39:13my fledgling.
39:17What happened here?
39:19I opened my wrist back up.
39:22Gagged myself.
39:23Tried to throw the blood back up.
39:26I thought I'd feel like
39:28I was losing Claudia.
39:31I did not care.
39:35I finished her.
39:37I finished the job.
39:39Claudia took my hand.
39:41We said something about being even.
39:45I did not care.
39:48You were right.
39:52Give it time.
39:54She is a difficult one
39:56but one worth having.
40:01You'll find your way back to each other.
40:04What's in the suitcase?
40:05Some clothes.
40:07A few books.
40:09Cutting from a magnolia tree I've been growing.
40:18I could have fought.
40:22They might have killed me.
40:25Hunted the three of you down.
40:28Caught you, burned you.
40:30I don't know
40:32if it will satisfy their might be hostilities
40:34or the first
40:36bloodless vampirical.
40:40You broke with the coven?
40:43They gave me a choice.
40:47I chose.
40:49That's what you said to me, right?
40:51Standing in my blood,
40:52stroking my hair.
40:54You know it is.
40:56That's my memory of it.
40:58But you were there too.
41:00Maybe there's something I missed
41:02or maybe there's something
41:04I'll tell you later.
41:06Stop it.
41:08This is too important a moment
41:10in our story for these games.
41:12Oh, is there a game being played?
41:18You've remembered
41:20what you did to yourself in San Francisco
41:23and you're angry that I erased it.
41:25I am.
41:27You have no right to be.
41:29You asked me to do it.
41:34What?
41:35He's full of shit.
41:37I failed Louis once in my life.
41:39It wasn't in San Francisco.
41:40I would never ask you to do that.
41:42The pages I tore out of Claudia's diaries,
41:44we did most of those together.
41:46Not all of them.
41:47And the ones I did on my own
41:49were to protect me
41:51from you, Mr. Louis.
41:53I'm sorry.
41:55Mr. Molloy,
41:57why did I owe you my shame?
42:01Why did I owe you
42:03my one act of cowardice?
42:07The series of
42:10abhorrent consequences that followed.
42:21I spent the rest of my life
42:23trying to make up for it.
42:25I'll never make up for it.
42:28But he forgave me for it.
42:31I didn't forgive you.
42:35Drugs did far more damage to your mind
42:37than five nights in San Francisco.
42:39It was six.
42:40My point made.
42:42You have a sharper mind
42:43than any human that walks.
42:50You want an apology, I'm sorry.
42:52He thought it was the right thing to do too.
42:55You were going to drain me, pal.
42:57Belated apology number two.
43:07I asked you
43:09to erase it?
43:11Yes.
43:15After you came out of a shower
43:17in our home in Sausalito.
43:20Three days after we abandoned him.
43:25God.
43:40Continuing on the record, Mr. Malloy,
43:42I was a coward.
43:50We've been burying our meals
43:51outside St. Denis.
43:53Flowers starting to pop up
43:54lavender,
43:56sweet iris,
43:58flowers growing from the dead,
44:00cold things becoming warm.
44:02I saw a dead girl in your mind
44:04while you were dying.
44:06Oui, Aimée, my sister.
44:08She the replacement?
44:11What?
44:13I saw the same thing that night.
44:15We already had it out.
44:17Aimée, we used to call her the family idiot.
44:19She would eat pine cones.
44:21And I didn't tell her about Aimée
44:23because I didn't want her thinking she was...
44:25What was your word?
44:27The replacement.
44:29So thank you for falling right back
44:31into Daddy Lou's shoes.
44:33And thank you for never treating me like a child.
44:35Take some lessons, Libby.
44:38Are you thinking of coming back to Paris?
44:40Trash piles in the men's room
44:42smell like cheese.
44:44We're going to Wonder.
44:46Wonder?
44:48Wonder?
44:50This one?
44:52Finding the next ex on the map?
44:54This is the ex, Louis.
44:58All right.
45:00Okay, well,
45:02to finding the ex.
45:04Salute.
45:10How do you like my coffin?
45:12I wake up at night
45:14and the fans aren't trading insults.
45:17Estelle isn't smearing makeup all over herself
45:19or humming off-key.
45:20No one is forcing me to
45:22listen to their gossips
45:24or solve their petty crises.
45:26It's bliss.
45:28Estelle,
45:30we didn't make it easy for you.
45:32I'm sorry for that.
45:35You all right there?
45:38I cannot read your mind.
45:41The architects of our...
45:45I made you.
45:47That's just the way it is.
45:49Yes, but I feel you, Louis.
45:51I feel you too,
45:53Madeleine.
45:56I told Claudia I can feel you love her.
45:59We should see him once more.
46:03I'm glad you did.
46:05I'm glad we did this.
46:08I can feel you too.
46:12Through him.
46:16Yes, he loves you.
46:18Okay.
46:20Well, let's get the hell out of my soul.
46:22He gets enough affection.
46:24I don't need his head getting too big
46:26to get out the door.
46:28Take a good stretch.
46:30Give me another love.
46:32There he goes.
46:34There he goes.
46:37Will he get through the door
46:39with that big head?
46:45Why don't you want him to know
46:46that you love him?
46:48That's a little personal.
46:50You know, I love him.
46:52You know.
47:16They gave him a choice.
47:32He chose.
47:34Ladies and gentlemen,
47:36Mesdames et messieurs,
47:38awful and awfulesses
47:40and all those who flourish
47:42outside the divine,
47:44welcome.
47:46For 150 years,
47:48we here at the Théâtre des Vampires
47:50have shown you,
47:52you,
47:54your obscene predilections,
47:56your savage desires.
47:59But today,
48:01we're shunting
48:03human affairs aside.
48:05So if you want to kill your lover
48:07or fuck your mother,
48:09it'll have to wait.
48:11Because,
48:13because today,
48:15we're turning
48:17our lurid spotlight
48:19on ourselves.
48:21I stand before you
48:23in broad daylight
48:25at this first ever matinee
48:27at the Théâtre des Vampires
48:29to perform for your
48:31salacious gratification
48:33us.
48:38Are you ready,
48:40you filthy animals?
48:41Yes?
48:43Yes?
48:47The jury
48:49may be seated.
49:01Advocate,
49:03read the crimes
49:05for which this iniquitous trio
49:07stand accused.
49:09Floor two.
49:11The making of a vampire
49:13from a mortal child.
49:15Floor four.
49:17Ten minutes to your entrance,
49:19Monsieur Dienke.
49:22Monsieur Dienke?
49:24Thank you.
49:30Ten minutes.
49:32The premeditated murders
49:34of the vampiress
49:36Antoinette Brown
49:37and the vampire
49:39Lestat de Lioncourt.
49:44We were on trial for murder
49:47and all I could think was
49:50he's coming.
49:53Lestat de Lioncourt.
49:55The victim.
49:57It's justice
49:59for the attempted murder of my being.
50:01Guilty
50:04or not guilty.
50:07Guilty.
50:20Who funds you guys?
50:22Do you work with nation states?
50:24I think the stakes for Malloy
50:26in episode six
50:28really begin to ramp up
50:30and it doesn't help that
50:32Tala Mosca is telling him
50:34that things are getting intense.
50:36Can you protect me?
50:38From being killed?
50:40No, we're particularly poor
50:42at keeping our assets alive.
50:44But also he's really making
50:46headway and he's an experienced
50:48enough journalist to know
50:50that with powerful people
50:52they're liable to lash out
50:54and so I think, yeah,
50:55there's real fear
50:57and you can see it in Eric's
50:59performance that he's still
51:01cracking wise but it may not
51:03be quite as convincing.
51:05You should fear the other one.
51:07Imagine a tightrope walker.
51:09He knows that he knows
51:11how to walk a tightrope
51:13but every once in a while
51:15he glances down
51:17and a little shiver
51:18goes through his stomach,
51:20that cold chill.
51:22Rashid, did you and Mr. Malloy
51:24talk to anyone during dinner?
51:26As soon as he gets an inkling
51:28that they know
51:30he's already working
51:32on how to manipulate it
51:33why do you ask?
51:35Love.
51:37Louis has known for a long time
51:39that there's something wrong.
51:41There's a lie being told
51:43and that penthouse in Dubai
51:45is a bit of a prison
51:47and I think Louis and Daniel
51:49throughout the years
51:51have been like,
51:53sort of kept things
51:55for a month.
51:57Chloe revealing that
51:59she's a vampire
52:01shows how comfortable
52:03she is to another person.
52:05Don't run.
52:07I think it's really beautiful
52:09that she gives Madeline
52:11the choice on how to react
52:13to her being a vampire.
52:15I'm going to clean up.
52:17They have such
52:19amazing chemistry.
52:21I was just drawn to
52:23what they were doing.
52:25Is it romantic?
52:27No.
52:28No, not yet.
52:30She likes her so much
52:32that what are you going to do now?
52:34You have a choice to make.
52:36I feel like I get to pick
52:38one thing for myself
52:40and it's her.
52:42Louis turns Madeline
52:44without doubt
52:45because he loves Claudia
52:47and that's what he wants to do for her.
52:49You think you're happy with me now?
52:51Can you imagine me
52:53without the burden of her?
52:55Claudia's very good
52:57at reading people.
52:59She knows that she can
53:01You're going to do it?
53:02Yes.
53:03When?
53:04Tonight.
53:06The reason that Louis does it
53:08is because they're reaching that stage
53:10where they're growing apart now
53:12and it's like,
53:14once we do this, we're done.
53:16Turning Madeline
53:18was a really beautiful moment
53:20for Madeline and Claudia
53:22and I was just thinking
53:24I just don't want to get in the way.
53:26And I couldn't anyway.
53:28What they're doing is so magnetic.
53:29Working with Kat
53:31who was our intimacy coordinator
53:33we worked on levels of distance
53:35between mouth to neck.
53:38When we see Louis
53:40take a bite of Madeline
53:42it's like Claudia's hunger
53:44takes over as well
53:46and she gets involved.
53:48I love that scene.
53:50I love that relationship.
53:52Those two characters deserve
53:54more than any of the characters in the show
53:56to just be able to live
53:58life, companionship, together.
54:03Flowers growing from the dead
54:05cold things becoming warm.
54:07The scene in the cafe
54:09where they like meet up
54:11To find any eggs.
54:13It's almost like a romantic comedy
54:15or like a family Thanksgiving
54:17everyone's getting back together
54:19and it's awkward
54:21and you feel the tensions.
54:23The sets were beautiful.
54:25They built a cafe
54:27named after my eldest dog.
54:29We wanted this almost
54:31to feel like a fever dream
54:33but really playing with light
54:35and space in a way
54:37that connects kind of deeply
54:39with what's happening with the scene.
54:41I got to do a bit of improvising
54:43in that scene as well.
54:45Got to shout things at Armand.
54:47Will he get through the door
54:49with that big head?
54:51Filming it was so bittersweet
54:53because we were having
54:55such a lovely dinner
54:57and it was just so beautiful.
55:01Gustav was the vampire
55:03that kidnapped Claudia
55:05and you can hear Louis
55:07screaming for Claudia.
55:09Louis is just like
55:11missile focused on Claudia
55:13like how do I get her
55:15out of this situation?
55:17I have to give massive props
55:19to the background actors
55:21on our show
55:23who just like
55:25be completely still
55:27again and again.
55:30I think Pest doesn't really cover
55:32how Louis feels when they're kidnapped.
55:34The jury may be seated.
55:36Ten minutes to your entrance
55:38Monsieur de Lyonco.
55:40Lestat returns for the trial.
55:42Thank you.
55:44He's back in all his
55:46kind of hectic, complicated glory.
55:48What is he going to do?
55:50And the vampire
55:52Lestat de Lyonco.
55:56Lestat de Lyonco.
56:26Lestat de Lyonco.