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disco-elysium-via-polls · 9 months ago

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"Write it down, Kim -- in Martinaise they just kill you because they don't *like* you."

KIM KITSURAGI - "Got it." He takes out his notebook. "Kill you -- because they don't like you. All because..."

"...because of some chick."

ALAIN - A wince. It's involuntary. "Bring that up *one more time* and you won't get to write that report."

HALF LIGHT [Medium: Success] - The man's fists under the table are balled -- you can tell from his neck and shoulders. He means it.

KIM KITSURAGI - "Yes, I understand, Alain -- that's your name, right? Alain. You'll *kill* us." He scratches in his notebook. "That's what they do in the Wild North."

"They just hang you, like in the dark ages -- make a display of your corpse."

"They just hang you -- shoot you -- whatever! They can't even remember."

"They just hang you -- shoot you -- light you on fire. They don't care!"

FAT ANGUS - "It wasn't that, it wasn't..." the fat man says with a wheeze. "We didn't shoot him."

RHETORIC - That's it, that's the weak one -- you flushed him out. Now go in for the...

THEO - "Officer, you *will* be next if you don't shut up." The old man reaches for his belt, but his voice is strangely calm.

HAND/EYE COORDINATION [Medium: Success] - Firearm! A Glace 08, or a .38 calibre pistol -- either is small enough for you to have missed.

RHETORIC - He's on to you. He knows what you're trying to do...

VOLITION [Medium: Success] - Steel yourself, push on. Just ignore Theo.

(Turn to Angus.) "Or what? You're gonna kill me like you killed him? FOR NO FUCKING REASON?"

(Turn to Theo.) "What happens if I keep talking? You gonna *kill* me too -- in this bar?! FOR NOTHING?!"

Look at Kim first.

THEO - "No." You see him shake his silvery head. His calm voice is almost kind now. "*I'm* not gonna do it. I'm too old for a shot like that now..."

"You hear that, Angus! They're gonna kill me too!"

"Wait. Let's go back. I want to say something else..."

HALF LIGHT [Medium: Success] - The most terrible fear. Bigger than any before.

KIM KITSURAGI - To your right, you sense the air move. The lieutenant draws his firearm.

TITUS HARDIE - You only manage to perform one more movement. An instinctive jerk to your left. Then -- no sound. No one screams. It's impossible to say where it comes from...

MORE DEAD COPS

Sad news from the district of Martinaise as the bodies of two police officers are found floating in the canal. It is believed the officers where pursuing a murder investigation but got caught in the dockworkers strike and were gunned down under unclear circumstances.

"Such needless loss of life is truly tragic," a local union leader Evrart Claire commented and added that although the event is truly horrid, we can expect similar incidents to follow if right-wing vigilantes are allowed to run around uncontrolled and try to wiggle their way into well-organized neighbourhoods."

Oops. Let's try that again.

3. Look at Kim first.

KIM KITSURAGI - The lieutenant has put down his notebook -- his hand is resting on his holster. He gives you an imperceptible nod.

RHETORIC - What? What does that mean?

ESPRIT DE CORPS [Medium: Success] - Go for it -- the lieutenant has his eyes set on the fat guy. Push Angus. We're almost there.

(Turn to Angus.) "Or what? You're gonna kill me like you killed him? FOR NO FUCKING REASON?"

FAT ANGUS - "We didn't kill him! We didn't even *hang him*, he was dead when..." He takes a breath, wheezing.

ELIZABETH - "SHUT UP, ANGUS!"

"He was dead *before* you hanged him?"

SHANKY - "Fatty!" The little guy hits Angus on the back of the head. A loud slap. "Say one more thing to the cops and I'll..."

TITUS HARDIE - "DENNIS!" Titus roars. "Stand down or I'll beat your head in. Theo --" He points to the old man. "Take your hand off the belt -- this isn't '31. I've got this under control."

COMPOSURE [Medium: Success] - Does he? His closed fist is shaking... it's *you* who's in control. Let them have their moment.

FAT ANGUS - The room falls quiet. So quiet you can hear Angus wheeze.

TITUS HARDIE - "Angie, where's your goddamn inhaler? You sound like you're dying."

FAT ANGUS - "I left it home. I can't get it, I'm too fucked..." He grabs his chest. "I'm sorry."

ELIZABETH - "Why are you so fucking FAT, Angus?!" Lizzie snaps at him. "Now it's all pointless, because of *you*. You wasted my time. I told you, Titus --" she turns to him. "I told you to just give her up."

TITUS HARDIE - "Lizzie." He turns to the fixer. "Your help is no longer needed here. Go tell Evrart."

ELIZABETH - "Fine. I'll tell him. After a long walk along the *coast*." She walks off without looking back.

SUGGESTION [Easy: Success] - What just happened between these two?

RHETORIC - You're in. He's all yours. Questions!

🎵 Whirling-in-Rags, 8PM

"I'm sorry I made you guys fight."

(Whisper) "Kim, we did it."

"So you *didn't* kill him. He was already dead."

"So, *who* killed the merc then? Any leads?"

"Whose idea was it to hang him anyway -- hers?"

TITUS HARDIE - "Me too."

2. (Whisper) "Kim, we did it."

KIM KITSURAGI - The lieutenant gives a smile only you can see.

3. "So you *didn't* kill him. He was already dead."

TITUS HARDIE - He nods.

KIM KITSURAGI - "You hanged the corpse to cover up the real cause of death -- the bullet in his head."

TITUS HARDIE - Another nod.

"Why?"

TITUS HARDIE - "Cause the girls asked us to. They were in some shit."

RHETORIC [Medium: Success] - Girls plural? There's another girl? Two of them? Take note of this. They'll probably say more about her later.

KIM KITSURAGI - "Did *she* kill him?"

TITUS HARDIE - "Cop, I have no idea -- the girl says she didn't..."

EMPATHY [Easy: Success] - He doesn't think she did. Or at least he *hopes* she didn't.

"What happened Sunday night?"

TITUS HARDIE - "Klaasje came down." He points to the stairs. "She seemed really out of it. Drugged up -- even more than usual. Bug eyed and gurning, you know? Not in a *fun* way."

"It looked like she'd redosed after something went down. I've seen that look before, she was scared. I knew someone had died."

"How did you know?"

TITUS HARDIE - "I've done this job for ten years. I've seen it before. It's the politician in the motel room with the dead hooker scenario -- only in reverse."

SHANKY - "Good analogy, boss." The rat-faced man snickers.

TITUS HARDIE - "You don't get to talk yet, Shanky." He points at him. "You're still on the bench -- and you keep taking it easy too, Angus." He turns back to you.

"What happened then?"

TITUS HARDIE - "We went upstairs. Sure as day the merc was dead. And there was a bullet hole through the window. Fucking..." He scratches his chin. "Dirty sheets and bottles everywhere."

RHETORIC [Medium: Success] - He means they'd been fucking?

TITUS HARDIE - "Tibbs patched the window. And the corpse -- we hanged."

4. "Who's Tibbs -- the eighth Hardie?"

TITUS HARDIE - "Nah, he's my brother. He's in the window replacement business."

EMPATHY [Medium: Success] - Right now he's grateful he hasn't gotten his brother into this mess.

5. "If Klaasje didn't kill him -- why the cover up?"

TITUS HARDIE - "You may have noticed our girl's in some shit of her own."

"She told me some people were after her -- from Oranje. She wouldn't say more."

"I didn't notice anything -- what kind of *shit* are we talking about?"

TITUS HARDIE - "Yeah -- she wouldn't. She's fucked if she shows up on police radar."

"These people -- who are they?"

TITUS HARDIE - "They're powerful." He looks out the window. "Connected to the Moralintern. She's clearly afraid for her life -- says if she showed up in your systems, she'd be ghosted away."

DRAMA [Medium: Success] - That's all he knows -- that's all she's told him.

KIM KITSURAGI - "And why would you help someone like that? By taking on a murder?"

TITUS HARDIE - "Why *would* I?" He shrugs. "I guess we abide all sorts of runaways and losers here. It's a Martinaise thing."

6. "So, *who* killed the merc then? Any leads?"

TITUS HARDIE - "Not yet. Just some ideas. She says the shot came from outside, behind the window somewhere. So that's a clue."

"What are you thinking?"

"Got it. Tell me something else."

TITUS HARDIE - "I'm thinking -- someone's past caught up with them. Either hers or his."

KIM KITSURAGI - "Hers -- you mean..."

TITUS HARDIE - "I mean the people after Klaasje. Maybe the shot missed. Maybe it was meant for *her*?"

EUGENE - "I like that." The young guy nods. "Been thinkin' the same thing myself."

"And you had ideas about *his* past too?"

TITUS HARDIE - "I do -- one of those mercenary buddies of his could've done it. They got guns. Training. Years of bad blood, probably. Or it could've been someone else from Krenel..." He pauses to think.

"Tell you what I'd do -- check out the coast for vantage points. Maybe consult with a ballistics buddy of mine -- that's what *I'd* do. If I wasn't too busy doing this clown dance with you."

VOLITION [Easy: Success] - He's calm now. Threw all that turmoil away and became himself again.

LOGIC [Challenging: Success] - These theories -- not bad. Don't buy either one, but still. This guy's not as dumb as he looks.

7. "Whose idea was it to hang him anyway -- hers?"

TITUS HARDIE - "In a manner of speaking."

REACTION SPEED - Remember the two girls? He may be talking about the other one.

"Earlier you said the *girls* asked for your help. Was this the other girl?"

TITUS HARDIE - "That's right." He blinks. "It was her idea to hang him -- I liked it, for political reasons. It sent a good message."

+5 XP

"It's her, isn't it? The drug trafficker -- the missing eighth Hardie..."

TITUS HARDIE - The big guy steps toward you. "Fella, you think too much. Ease off, alright? You're gonna hurt your head."

SUGGESTION [Easy: Success] - A little too far there -- but you're definitely right.

TITUS HARDIE - "That woman is just *affiliated* with the Hardie boys. You don't know her, anyway. "

"You know, it's okay for there to be a Hardie girl, Titus."

"Understood. Can you tell me anything about her? Name, current location?"

"You're going to stonewall me if I ask more about her, aren't you?"

TITUS HARDIE - His face sets like concrete. He shakes his head solemnly. "We're Hardie *boys* and that's *it*."

"Sure. But can you tell me anything about this *affiliate*? Name, current location?"

TITUS HARDIE - "Nope," he says. "You're not getting to her. It's Klaasje you want to talk to."

8. "Thank you for this, Titus. I'll go talk to her -- for the last time." (Conclude.)

TITUS HARDIE - "You do that." He grabs his beer and swirls it in his hand, then thinks of something. "Hey, cop -- before you go."

SHIVERS [Medium: Success] - Suddenly the wind picks up outside. You hear it rattling the large windows in their frames. It carries newspapers, circles the Whirling-in-Rags in a warm column...

TITUS HARDIE - "She..." He looks up. "Klaasje came to Martinaise to hide -- many of us did. This is where you wash up when there's nowhere left to go. The Union takes you in -- now, she *refused* that protection, but..."

SUGGESTION [Medium: Success] - Still, after all this headache...

"But you would *still* prefer if we didn't take her away?"

"Good bye, Titus." [Leave.]

TITUS HARDIE - "That's right. If we didn't take care of the people who end up here, this place would just be a couple of ruins and some cargo containers."

KIM KITSURAGI - "We'll take that into account." The lieutenant slides his notebook into his coat pocket. He turns to leave.

It's now after 22:00. We should go meet with the communists soon, but first...

BLUE DOOR - You see a heavy steel door with a prominent dimple lock. It's painted blue.

Try the 'Workshop Spare' key on the door.

BLUE DOOR - The key fits the dimple lock. It takes a bit of effort to turn it after all these years, but then -- the lock clicks.

INLAND EMPIRE [Easy: Success] - Dust rises before you like mist. A tomb? Haunted by regal spirits from distant ages...

PERCEPTION (SMELL) [Easy: Success] - No. Smells like engine grease and cut wood. A workshop.

This pinball says 'Franconigerian'. The theme is horses and swords.

This pinball is 'White Deora'. The backglass shows a female figure in mourning.

A note: "NB! The spare key is tied to the bush outside the corner room window!"

INTERFACING - Over there, in the corner?

The pinball machine?

Ignore the machine.

INTERFACING - Not just any pinball machine. This is the pinnacle of pinball. 'Cornelius Gurdi and the Mountain Goats'. It's lit. You can't wait to get your hands on it.

"Kim, are you seeing what I'm seeing?" (Point to the machine.)

"Let's take a closer look." (Pull out the machine.)

No, I'm out. [Leave.]

KIM KITSURAGI - "The pinball machine?" The lieutenant glances at the machine. "Gurdi's Goats. A classic."

"Wait, you've played it?"

KIM KITSURAGI - "A little."

EMPATHY [Easy: Success] - Feels like a *lot*. Too much to play it again.

2. No, I'm out. [Leave.]

We've got no time for pinball now. In fact... let's come back to the Whirling later, when we don't have a meeting to attend.

INTERFACING - All these mesmerizing machines, just waiting to be plugged back in and played.

Run your finger across the dust of the 'White Deora' machine.

[Discard thought.]

INTERFACING - Feels like it might jump back to life any moment, the lights illuminating the white robed woman.

"What's 'White Deora'?"

"How about we fire one of these bad boys up and play some ball?"

"Let's move on then." [Finish thought.]

KIM KITSURAGI - "Some kind of..." He looks around, thinking. "Inane pinball theme -- probably related to Messina during the Dolorian age. The *history themes* are the worst."

EMPATHY [Trivial: Success] - The lieutenant grimaces, looking at the machines.

2. "How about we fire one of these bad boys up and play some ball?"

KIM KITSURAGI - "You can't *fire* them up, they're broken. Only that one machine in the main hall works. The Royalist Pinball." He looks away.

HALF LIGHT [Easy: Success] - What a dumb name -- Royalist Pinball. If they weren't broken, he would kick one of these machines about now.

3. "Sounds like you don't enjoy pinball, Kim."

KIM KITSURAGI - "No, I love it -- I love pinball. Who doesn't love pinball? Let's move on."

DRAMA [Easy: Success] - He doesn't.

4. "What about that other one -- the Franconigerian Ball. Wanna play that?"

KIM KITSURAGI - "No."

5. [Encylopedia - Medium 10] Think: Kim Kitsuragi... Kim Kitsuragi...

ENCYCLOPEDIA [Medium: Success] - Kim 'Pinball' Kitsuragi!

Kim 'Pinball' Kitsuragi, AKA Kimball?

ENCYCLOPEDIA - Exactly. That's what he's known as. His reputation proceeds him!

"You're Kim 'Pinball' Kitsuragi."

"Hey, Kimball."

I'm not gonna talk to him about that.

KIM KITSURAGI - "So *now* he remembers..." He looks at you in the silence of the workshop -- then takes his glasses off and cleans them.

Fine. I'm Kim 'Pinball' Kitsuragi." he puts them back on. "AKA The Kimball. You remembered -- congratulations."

"Wait, but I still can't remember anything *else*."

"You don't seem to really 'like' pinball."

KIM KITSURAGI - "Wonderful. He *only* remembers hearing about the *pinball policeman*."

"You don't seem to really 'like' pinball."

KIM KITSURAGI - "No human being should. It is a game that requires no skill and a childlike affinity to flashing lights. And to *fantastique*, science fiction, and historic romance franchises."

"It is *lame*."

"Then why are you called Pinball?"

KIM KITSURAGI - "I am not *called* Pinball. It was used to taunt me -- a long time ago. *Before* I became a homicide detective. And got my lieutenancy."

"How did you..."

KIM KITSURAGI - He puts his glasses back on. "Fine. I was a juvenile police officer -- for over 15 years. It's how I started out in the RCM. Once I had to infiltrate a pinball ring. As you do -- when you're a juvie cop."

"Lame."

"Okay."

KIM KITSURAGI - "Unbelievably," he nods. "To do that I needed to become a... *pinball champion*. I trained for nine months. The job was successful and I was moved out of the juvenile wing -- to homicide."

"End of story."

+5 XP

"You were a juvie cop for 15 years?"

KIM KITSURAGI - "That time is over now." He looks at the pinball machine and breathes in. "I was already a 38 year old man. It was unbecoming. As was playing pinball."

EMPATHY [Easy: Success] - So that's why he doesn't want to talk to Cuno. Trauma-and-Stressor Disorder from being a juvie cop.

"Wait, so *that's* why you didn't talk to Cuno."

"I'm gonna call you Pinball now."

"I'm gonna call you *Kimball* now."

"Don't worry, I'll keep calling you Kim."

"You're Lieutenant Kitsuragi to me."

KIM KITSURAGI - "It's best if *you* handle the juvenile delinquents," he nods.

4. "You're Lieutenant Kitsuragi to me."

KIM KITSURAGI - "Not only to you -- I am *Lieutenant Kitsuragi* to everyone." He nods. "Now -- we really need to continue our sweep of what appears to be a secret path through the Whirling."

+1 Reputation

Sorry, Kim, but now we *really* need to meet with the communists. We'll be back later -- tonight, if we have time.

There's a red light pulsating behind this door.

METAL GRILLE DOOR - As you approach the metal grille you can hear several voices having what appears to be an animated discussion.

RHETORIC - This must be it. Beyond this door lies the beating heart of radical communism in Martinaise.

PERCEPTION (SMELL) [Easy: Success] - Somehow the night air softens the smell of trash and sea brine. As the breeze pulls through the canvas like a shuttle through a loom you catch a hint of something unexpected, something earthy, warm, and burnt...

RHETORIC - The acrid smell of failure...

ELECTROCHEMISTRY [Easy: Success] - No, that's just slightly burnt coffee. A smell you would recognise anywhere.

CINDY THE SKULL - "Just look at these pigs, sniffing about after-hours..."

"Why didn't you say the secret door was *right behind you*?"

"Hey, it's past curfew! Get to bed, Cindy!"

(Ignore her.)

CINDY THE SKULL - "Must have slipped my mind. You know how it goes." She gives you a lackadaisical shrug.

METAL GRILLE DOOR - The metal grille is cool to the touch.

KIM KITSURAGI - You notice the lieutenant is looking uncustomarily anxious. His posture is rigid, his right hand hovers near the zipper of his jacket.

HAND/EYE COORDINATION [Medium: Success] - He wants so badly to draw his Armistice, but he also doesn't *want* to want to draw it.

"You okay, Kim?"

"Relax, they're only communists."

Say nothing.

KIM KITSURAGI - "Oh, I'm fine. I was practically *born* to infiltrate underground communist cells..." He takes a quick look over his shoulder.

"Which is just to say: We should be prepared for *any* eventuality."

Try to listen.

Bang on the grille.

[Leave.]

METAL GRILLE DOOR - You can make out at least two separate voices.

PERCEPTION (HEARING) [Medium: Success] - Two voices, both male. Approximately early 20s.

METAL GRILLE DOOR - "... Careful with those now..."

"I have it. It's going to work, I can feel it..."

2. Bang on the grille.

METAL GRILLE DOOR - The clang of metal reverberates all along the scaffolding. The voices coming from the other side fall silent.

HALF LIGHT [Medium: Success] - A pair of frightened hares cowering in some dark crevice of their burrow.

METAL GRILLE DOOR - "Who's there? Is that you, Maurice?"

"It's not Maurice, it's the police!"

"That's right. It is I… Maurice."

"Are you all communists? I'm looking for some communists."

METAL GRILLE DOOR - "Come crawling back already? Get out of here, traitor!"

"Uhh..."

"I'm not actually Maurice. I'm trying to get organised. Can you help me?"

METAL GRILLE DOOR - "That's right!" Another voice jumps in. "Take your miniscule, bourgeois turnips and get lost!"

DRAMA [Godly: Failure] - Face it, sire, your little subterfuge isn't leading anywhere.

"I'm not actually Maurice. I'm trying to get organised. Can you help me?"

METAL GRILLE DOOR - For a moment, silence.

"What's the passphrase?"

"It's 'Blessed are the sausage grinders'."

"It's 'We await the silent mole empire'."

"It's 'The end times cometh'."

"It's 'Disco Supernova'."

"Is it '1234'?"

"It's 'Remember Dobreva and Abadanaiz'."

"Look, I don't know your passphrase. Could you just let me in?"

METAL GRILLE DOOR - There's no response. You begin to wonder whether they've slipped out some back way...

INLAND EMPIRE [Easy: Success] - No! They're still there. You can *feel* them back there.

METAL GRILLE DOOR - "Alright. The key's taped to the back of the doorframe. Just make sure you put it back when you're done or we'll all be locked out..."

"And do watch the concrete. It just kind of... falls away... in places."

KIM KITSURAGI - "*Charmant*. After you, detective."

CINDY THE SKULL - "Have fun at your *underground meeting*, pig. Hope it's a *blast*."

🎵 Ignus Nilsen Waltz

STEBAN, THE STUDENT COMMUNIST - The two young men are either oblivious to or ignoring your entrance. Their attentions are fixed on whatever it is they're stacking in the middle of the floor...

PERCEPTION (SIGHT) [Easy: Success] - Matchboxes, it appears.

STEBAN, THE STUDENT COMMUNIST - "I think it's holding, Ulixes..."

ECHO MAKER - "It is, it's holding!"

VISUAL CALCULUS [Medium: Success] - It's definitely not holding. Those matchboxes are stacked so haphazardly it's like they *want* them to collapse.

STEBAN, THE STUDENT COMMUNIST - "Careful, careful!"

"Damn. Hardly any difference..." The young man shakes his head, and then looks up at you and the lieutenant with barely concealed irritation...

"You two. You're late."

ECHO MAKER - "They should know the meeting starts at 22.00 *sharp*." His companion looks up at you and squints.

AUTHORITY [Easy: Success] - One leader and one follower, the most ancient power dynamic.

COMPOSURE [Medium: Success] - There's a great deal of tension in this young man's shoulders, more than someone his age should bear...

Meanwhile, his companion inclines toward him, eager to catch every word that dribbles from his friend's mouth.

DRAMA [Medium: Success] - Don't let them see you *flustered*, ssssire. Play along...

"You weren't exactly easy to find."

"What am I late *for* exactly?"

(Play along.) "My apologies, comrades. I had to be sure I wasn't being tailed... by our *class enemies*."

[Leave.]

STEBAN, THE STUDENT COMMUNIST - "Mmmm." The young man considers you a moment...

"We all have to take precautions, especially during these delicate times. What matters is that you've made it, and that you've done the reading."

DRAMA [Impossible: Failure] - Uh oh. No one said anything about *reading*. You'll just have to wing this one.

#disco elysium #kim kitsuragi #harrier du bois #titus hardie #hardie boys #elizabeth beaufort #cindy the skull #steban the student communist #echo maker

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lecameleontv · 7 months ago

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Captures de l'Ep. 1.02 : Chaque Tableau a son Histoire / Every Picture Tells a Story (1996) de la série Le Caméléon (V.O. : The Pretender).

Distribution : - William Sanderson, qui retrouvera Jon Gries dans l'Ep. 5.10 de la série LOST (2004) - Jacob Vargas, qui avait déjà rencontré Jon Gries dans le film Get Shorty (1995), et retrouvera Patrick Bauchau dans l'Ep. 1.06 de la série Les Experts : Manhattan; - Dennis Cokrum, qui retrouvera James Denton dans l'Ep. 6.05 de la série Desperate Housewives; - Michael Wyle, qui reviendra dans l'Ep. 4.20 de la série Le Caméléon (V.O. : The Pretender). - Elizabeth Heflin, qui avait déjà rencontré Jason Brooks dans l'Ep. 1.7871 (1996) du feuilleton Des jours et des Vies; - Stephanie Sawyer, qui avait déjà croisé Andrea Parker dans l'Ep. 2.07 (1995) de la série Urgences; ...

Jarod : "Salut, je m'appelle Jarod... ça va aller maintenant."

Mlle Parker : "Ce sont des esprits supérieurs mais tôt ou tard ils font des erreurs bêtes."

Sydney : "Inutile d'utiliser l'ascenseur. Trois étages à monter ce n'est pas la mort..."

Mlle Parker : "Cessez de me materner Sydney. Ca remonte à 20 ans, aujourd'hui je n'ai plus de problème avec cet ascenseur, c'est de l'histoire ancienne."

Mlle Parker : "Une seule chose reste incompréhensible pour moi ... pourquoi est-elle allée dans un ascenseur ... ? Un ascenseur, ça monte, ça descend... Mais ça ne va nulle part... C'est très petit une balle de 9mm mais celle-là a changé ma vie."

Sydney : "Je pourrais vous aider à tout oublier."

Mlle Parker : "... mhm... Très gentil mais dites-moi, ma mère avant de mourir, ma mère ne sortait-elle pas d'une séance de psychanalyse avec vous pour soigner sa dépression ? ... Non merci.... Je réussirai à oublier seule."

Jarod : "J'ai besoin de savoir si Jarod est mon véritable nom."

Sydney : "Je crois que oui. En tout cas, c'est ce qu'on m'a toujours dit."

Jarod : "..... Merci Sydney."

Sydney : "Ne raccroche pas ! ... Je m'inquiète pour toi."

Jarod : "Si vous êtes si préoccupé, pourquoi ne pas alerter les autorités ?"

Jarod : "C'est très intéressant ... Alors finalement il y a une usine qui fabrique jour après jour des étrons en plastique ?"

vendeur (blasé) : "Ouais. Mais eux ils appellent ça des crottes en plastique parce que crotte en plastique ça parle plus."

Jarod : "Ahen... Ce que je voudrai savoir c'est pourquoi on vous en achète, est-ce que vous le savez ?"

vendeur (blasé) : "Parce que c'est marrant ?"

Jarod : "Ahen..."

Jarod : Est-ce que vous connaissez Mozart M. Abott ? ... La flûte enchantée ? [...] Quand j'étais petit j'ai eu l'autorisation d'écouter La Flûte Enchantée... Je fermais les yeux et ... j'étais vraiment aux anges... J'avais l'impression de ... d'être libéré de mes chaînes... Tout était agréable... Tout était possible... Avec Mozart on voit la vie différemment."

L'Ep. 2.17 poursuit la thématique de cet épisode, d'un autre point de vue...

source : imdb

Saison 1 : Épisodes 01 - 02 - 03 - 04 - 05 - 07 - 08 - 09 - 11 - 12 - 13 - 15 - 16 - 17 - 18 - 19 - 20 - 22.

#le cameleon #the pretender #saison 1 #season 1 #episode 2 #chaque tableau a son histoire #Every Picture Tells a Story #ascenseur #william sanderson #eau #helicopter #jacob vargas #Dennis Cokrum #mozart #la flûte enchantée #Michael Wyle #1996 #Stephanie Sawyer

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ulkaralakbarova · 5 days ago

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I Am Wrath

A man is out for justice after a group of corrupt police officers are unable to catch his wife’s killer. Credits: TheMovieDb. Film Cast: Stanley Hill: John Travolta Dennis: Christopher Meloni Abbie: Amanda Schull Det. Gibson: Sam Trammell Governor Meserve: Patrick St. Esprit Vivian Hill: Rebecca De Mornay Det. Walker: Asante Jones Lemi K: Paul Sloan Charley: Luis Da Silva Jr. Mike: Jordan…

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christophe76460 · 29 days ago

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Série Ligonier intitulée : "Les paroles difficiles de Jésus".

Le Blasphème contre le Saint-Esprit 7/17

L’annonce de Jésus que blasphémer le Saint-Esprit est un péché qui ne sera jamais pardonné est « difficile » pour deux raisons.

D’abord, il semble contredire les Écritures qui nous disent que le sang de Christ peut pardonner tous les péchés (1 Jean 1.7, 9).

Deuxièmement, Jésus affirme que la calomnie contre lui-même, le Fils de l’homme, peut être pardonnée ; mais la calomnie contre l’Esprit Saint ne peut l’être.

Cela exalte-t-il la dignité de la troisième personne de la Trinité au-dessus de la deuxième personne ?

Cette parole apparaît sous diverses formes dans les évangiles :

"Tout péché et tout blasphème seront pardonnés, mais le blasphème contre l’Esprit ne sera pas pardonné." (Matt. 12.31)

Seul Marc explique pourquoi ce péché est impardonnable : Les scribes juifs attribuaient à Satan (Béelzébul) la puissance de l’Esprit Saint par laquelle Jésus expulsait les démons.

Ce qui distingue le blasphème contre l’Esprit des péchés pardonnables, c’est l’état d’esprit bien informé et volontairement rebelle des scribes. Leurs accusations selon lesquelles Jésus tirait son pouvoir sur les démons de son alliance avec le Prince des Ténèbres était manifestement absurde. Comme Jésus l’a souligné, Satan n’est pas assez fou pour se faire la guerre.

Seule la volonté des scribes de contredire ce qu’ils savaient être vrai pouvait les pousser à porter une telle accusation.

Devant l’évidence indiscutable qu’en Jésus, l’Esprit de Dieu établissait le royaume de Dieu et chassait Satan, ils ont endurci leur cœur jusqu’à un point de non-retour. Paul, bien qu’il fut « un blasphémateur… a agi avec ignorance et incrédulité » (1 Tim. 1.13).

Son ignorance ne l’excusait pas, mais elle laissait son cœur perméable à l’entrée de l’Esprit.

Le pardon est possible pour celui qui calomnie le Fils, non pas parce que l’une des trois personnes divines a moins de gloire que les autres. Au contraire, l’incarnation du Fils a voilé sa gloire d’une manière qui l’a cachée de la vue de beaucoup de gens qui étaient aveuglés par l’incrédulité ignorante mais qui étaient encore guérissables par l’Esprit.

De deux vérités, nous pouvons en être sûrs : celui qui commet ce péché impardonnable n’aura jamais confiance en Christ pour recevoir le pardon trouvé en Lui. Et celui qui s’empresse vers le Fils de l’Homme crucifié et ressuscité n’a pas commis cette calomnie haineuse de l’Esprit, et le Sauveur ne se détournera pas celui qui se tourne vers Lui.

Dennis E. Johnson

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sillykoalalight · 1 year ago

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Miracle Recreation by Warhol: Three Famous Paintings Renewed by Denny Ja

Andy Warhol's Pop Art Artwork is always impressive and gives a different artistic impression in the eyes of art lovers. Warhol, as an expressive and creative artist, has produced many famous iconic arts in the world. However, even though Warhol's work is well known in the world, Denny JA, an Indonesian digital artist, succeeded in making three Warhol works more interesting by giving a distinctive creative touch. The three works of Warhol updated by Denny JA are Marylin, Elizabeth Taylor, and Campbell Soup. The following is a brief explanation of the three works and changes made by Denny JA. 1. Marylin This Warhol pop art artwork is probably the most famous. Marylin Monroe painting with green and blue background has become one of the 20th century pop art art icons. Denny Ja renews Warhol's work by adding modern elements and a touch of sophisticated technology. Denny Ja added the effects of light and colors that made Warhol's work more lively and amazing. In addition, Denny Ja also added 3D elements that make this work look like three dimensions and more realistic. 2. Elizabeth Taylor Warhol's work on Elizabeth Taylor is also very famous. This painting shows Elizabeth Taylor's face in green, yellow and red. Denny Ja made a small change in Warhol's work by adding eSprit elements and brighter colors. Denny Ja added the effects of red and yellow colors that were vibrant and very striking. This makes Warhol's work more interesting and look more modern. 3. Campbell soup Warhol's painting about Campell soup cans may not be the most famous works of art among three other works. However, this painting also has a deep artistic meaning and expresses a strong pop art message. Denny Ja added a more varied color element to Warhol's work. Denny Ja gives bright and attractive colors like neon colors. This makes Warhol's work on Campbell Soup become more lively and interesting to see. In overhauling the three works of Warhol's pop art art, Denny Ja gave a creative touch and technology that had artistic and innovative values. The combination of modern art and sophisticated technology gives a unique and amazing impression for art fans. Thus, the changes made by Denny Ja in the three works of Warhol's pop art prove that innovation and art creativity are not limited to one genre or artistic image. Because, the miracle of art can be created through touch and adding unexpected new elements.

Check more: Miracle Recreation by Warhol: Three Famous Paintings Renewed by Denny JA

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beatlesonline-blog · 2 years ago

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aainaalyaa · 6 years ago

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Ce n’est pas notre absence qui maintient l’humanité dans l’ignorance; ce sont les yeux fermés de l'homme.

Notre présence a toujours été présente.

#al ladunni #tasawwuf #orion #ein sof #Esprit Saint #Sainte Communion #présence #Photo par Denny Bitte #Denny Bitte #aainaa-ridtz #civilisation #voyage sacré #stargate

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sounwise · 2 years ago

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DAYTRIPPIN’: Let’s address the reputation Paul McCartney had at the time for treating members of Wings like “sidemen,” a charge that was leveled by other Wings members and played up quite a bit in the 1970s. JUBER: A sideman is typically a musician that is hired to play a role on stage and/or in the studio. For me specifically, to deliver a guitar solo, some groove and texture, a cool rhythm guitar part or whatever was appropriate. For example during the Back to the Egg period, as well as playing the obvious lead guitar stuff, I played bass guitar on “Love Awake,” slide acoustic on “After the Ball,” the Flamenco lead acoustic solo on “Goodnight Tonight.” So yes, I was a sideman, but the job assignment very much included considering myself a part of the band. I’m a bit of a chameleon stylistically and I think that I got the gig because I could play the bluesy lead stuff, but also other styles like the jazzy intro on “Baby’s Request.” What’s on the recordings represents the creative opportunities that Paul afforded me and he gave me a lot of leeway. The only times he ever told me what to specifically play was when he had a particular lick, like on “Daytime Nighttime Suffering.” Addressing the question in financial terms it was still a ‘work for hire’ and a reasonable improvement from what I was making as a studio musician. I’ve never had any complaints about the financial end of the arrangement. Early on, Paul had a bit of a reputation for not paying his bandmates well. This really goes back to when Wings first started and Paul had limited cash flow. There were financial issues because of the way the Beatles broke up and it took a while for those to be solved. Part of it was also Paul’s idea of creating Wings essentially from scratch. When the band first started, Paul told me that he [basically only] had an office and a phone, and got to work. I think he wanted to know the basic functions of the business end before he would hand it over to someone else. So basically the attitude was, “This is a small band and we’re going to get in a bus and go to a college and play at lunch time and share whatever money goes into the hat.” It’s a nice utopian kind of vision, but it became hard on the other guys as time wore on and didn’t quite fit with the fact that Paul was a still a megastar. By the time I joined the band things had changed, although the ‘esprit de corps’ was still there. In all its incarnations Wings sounded like a band, not like a solo McCartney project and I think that reflects well not only on Paul’s ability to share in the creative process, but also on the importance of Denny and Linda’s contributions, too. The other players brought their own personalities to the scene.

[—from “Exclusive: Ex-Wings guitarist, Laurence Juber, talks about having Paul McCartney as a boss” in Daytrippin’ Beatles Magazine (October 15, 2010)]

#man this is just Such a good and interesting interview there are too many sections worth quoting #paul mccartney and wings #wings #laurence juber #paul mccartney #daytrippin' beatles magazine #also: i too am shocked to learn that the bass line on 'arrow through me' was done on the electric piano #boy do i ever have opinions about back to the egg and how plainly not one paul biographer EVER has been a devotee of '80s hard rock #@sounes @salewicz @doyle: at least 1/3 of this album sounds like it belongs in ~1983!!!#you go listen to Eliminator + Pyromania and then tell me again how this album from /1979/ was a failed effort to get with the times #'overworked' 'bombast' the words you are looking for are 'not to my personal taste' actually #you boring bastards.

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volivolition · 9 months ago

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Hello! Just dropping in to tell you your art's pretty cool! Can't wait to see more :D

aaa hehehe hello!! thank you so much!! :D

#volta transmissions #voliart #conceptualization #disco elysium skills #yeah thats all the tags im a tired boy tonight lmao. BUT YEAH THANK YOU!!! always got more art ideas cant wait to show em hkjfd #yellow in the frame means happy!! the vague fade to red is frustration about the other skills hkjh <3 shes not mad at u dont u worry #COACH STOP BEING HARD TO DRAW!!#esprit: Dennis

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disco-elysium-via-polls · 6 months ago

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🎵 Whirling in Rags, 8 AM

(Shake it.) "No need to thank me, just doing my job."

+1 Boring Cop

TITUS HARDIE - "Well, cheers anyway, copper!" He raises his whiskey bottle in salute.

+5 XP

"I'm sorry about the people you lost."

"What's going to happen to the Hardie boys now?"

"Do you know what happened to Klaasje?"

"Any idea what I should do now?"

"So long, fellows. Be good so I don't have to come back here again." [Leave.]

TITUS HARDIE - His bruised face stiffens. "Theo was old. I think he'd be pretty happy with the way he went. Never could imagine him withering away on a sickbed."

"But Angus…" He gulps. "He was just a stupid kid. Didn't realize the mess he'd gotten into… trusted me… Still, the balls on that kid! Went down fighting for someone else's shit like a fat angry bear."

EMPATHY [Easy: Success] - Here it comes. The last one is the worst one. He only deals with it by drinking copious amounts of 8% beer.

ELECTROCHEMISTRY [Medium: Success] - An honest tactic. And effective.

TITUS HARDIE - "And Glen... Glen was my friend. Best I've ever had. I loved that crazy homo like my own brother." He takes a sip of his beer. "We're all fucked without him, but whaddaya do? This job is shit."

"Hold on, what about that Shanky-fella?"

"They were good people. I'm sorry it went like that."

"We are born in to this world to die, it seems. Maybe there's redemption in that? At least it ends one day."

"This is getting dark. Let's talk about happy stuff."

TITUS HARDIE - "Dennis? You *saw* him run. He's a mean little shit and I never trusted him." He shakes his head. "He better run real fast now -- *real* fast."

HALF LIGHT [Medium: Success] - Titus makes no attempt to hide his disgust. Grief-stricken anger boils in him.

"They were good people. I'm sorry it went like that."

TITUS HARDIE - "Well yeah... *memento mori*, right?"

ENCYCLOPEDIA [Medium: Success] - *Memento mori* or 'remember that you must die' is a slogan various religious orders have thrown around since the dawn of mankind, to emphasize the vanity of earthly life and the transient nature of all earthly pursuits. In essence it means one should live virtuously in this life to live better in the afterlife.

"I'm not sure that really applies here…"

"Yeah... uh... totally, totally."

"What does that mean?"

TITUS HARDIE - "Sure it does." He nods confidently and raises his whiskey bottle. "Live every day like it's your last, 'cause you might be dead tomorrow."

ALAIN - "Absolutely! Today I'm going to get drunk, eat good food, and bed a good-looking gal, 'cause tomorrow a motor carriage might run me over..."

EUGENE - "Or you might die of a heart failure... Or syphilis?"

ALAIN - "Hey, hey... fuck you for ruining a beautiful idea!"

2. "What's going to happen to the Hardie boys now?"

TITUS HARDIE - "*First*, we're gonna find Dennis..."

ALAIN - "*I'm* going to find Dennis," he interjects. "I'm going to find him and then I'm going to kill him."

RHETORIC [Medium: Success] - The tone of the statement is so matter-of-fact, it's as though he were talking about picking up a morning newspaper on his daily walk around the block.

"That's not going to bring back..."

"Frontier justice -- I like it!"

"Your guy, your responsibility -- do what you feel is right."

KIM KITSURAGI - The lieutenant shakes his head but doesn't say anything.

ESPRIT DE CORPS [Easy: Success] - Go ahead then. Maybe they'll only break his legs.

TITUS HARDIE - "Mhm," he nods without really listening. "We're hunting that rat down -- let it be known what happens to cowards. And then..." He thinks for a moment.

"I guess I'll take a closer look at our Union members. There's bound to be some ambitious fellows there who'd love nothing more than advancing social democracy by bustin' some heads."

"Might even ask Tibbs if he's tired of replacing windows and maybe wants to have some fun with his brother." He pauses. "Anyway, don't you worry -- as long as Titus Hardie's standing, there *will* be Hardie boys."

LOGIC [Challenging: Success] - He's right. The numbers are replaceable. In an organization of thousands of men, there are plenty who'd join.

3. "Do you know what happened to Klaasje?"

TITUS HARDIE - "Don't know, don't care. I'll be glad if I never see that fucking woman again."

SUGGESTION [Easy: Success] - - Even after all that hell he's still bitter about her?

"Titus, after all we've been through, level with me... you really liked her, didn't you?"

"Same here, man."

"Okay, got it."

TITUS HARDIE - "Nope."

DRAMA [Easy: Success] - He did.

"Same here, man."

TITUS HARDIE - He shrugs and tries to look uninterested.

4. "Any idea what I should do now?"

TITUS HARDIE - "Judging by the sight of you..." He looks at your bandages. "I'd suggest crawling into bed with a bottle of whiskey in one hand and a big tit in the other."

ALAIN - "Yeah, go pay Monica a visit in Jamrock. She's got a knack for making men forget about their worries. Biggest pair of milkers in all of Revachol."

EUGENE - "Hell, you both look like you could use some feminine company right now."

KIM KITSURAGI - "Thank you for your advice, Eugene. And you too, Alain. I do always appreciate a good use of the expression 'milkers'."

TITUS HARDIE - "You're welcome, binoclard," Titus' response is completely unironic. "You're all right in my book."

5. "So long, fellows. Be good so I don't have to come back here again." [Leave.]

TITUS HARDIE - "Take care, coppers," he says with a warm smile. "You two look after yourselves now. Death passed on you today, but men don't get that lucky twice."

ALAIN - He nods to you and then to the lieutenant. "Coppo loco... and the, uh, normal cop, I guess. Good luck in Jamrock. Scars make the best tattoos, they say."

EUGENE - "Thanks for getting involved, guys. Not a lot of cops would step in that line of fire, but you did."

TITUS HARDIE - "And if you ever feel like the uniform is holding you back... I've got a few vacancies. You'd make one hard Hardie boy, copper."

+5 XP

ESPRIT DE CORPS [Easy: Success] - And Titus Hardie himself would make a good officer. That man was born to lead.

"The RCM could really use a man like you, Titus. Think about it."

"Bye, Titus." [Leave.]

TITUS HARDIE - "I will, coppo. That's a promise." He puts his can down. "Now scoot, 'cause the Hardie boys got some mourning and drinking to do."

KIM KITSURAGI - "Take it easy on the drink. The danger has not passed -- this town needs you on your feet."

TITUS HARDIE - "Good point, binoclard." Hardie looks at his beer. "We'll keep the vol under 12% tonight."

We better head out into the streets of Martinaise, one final time.

🎵 Live With Me

ONE DAY I WILL RETURN TO YOUR SIDE - The graffito has been painted over the traces of the fight that took place here. It smells of blood and heavy fuel oil.

REACTION SPEED [Easy: Success] - This was Cindy the SKULL.

"Looks like Cindy the SKULL finally found the words for her masterpiece."

"I smell heavy fuel oil."

[Leave.]

KIM KITSURAGI - The lieutenant crouches, touching the fuel oil with his finger.

"Looks like it, yes. This is still fresh. It wasn't here yesterday."

CONCEPTUALIZATION [Easy: Success] - The Return...

"Does this have anything to do with 'The Return' Klaasje is waiting for?"

Say nothing.

KIM KITSURAGI - "Could be. In Revachol West, someone somewhere is always whispering about Le Retour..." He squints his eyes at the writing. "It's an *aerograffito*, meant for Coalition aerostatics in the lower troposphere."

INLAND EMPIRE [Medium: Success] - The return to her side.

RHETORIC [Challenging: Success] - The return of light.

2. "I smell heavy fuel oil."

KIM KITSURAGI - "And blood. Some of it is even yours."

INTERFACING [Easy: Success] - Heavy fuel oil -- isn't that... flammable?

What are you trying to imply, fingers?

No. Nope. No-no-no, bad idea.

INTERFACING - You *could* buy some smokes, light up a ciggy and throw it in there... You know, just to see what happens. See if it's flammable. It's better that way. Safer.

New task: Light the graffito on fire with a burning cigarette

3. [Leave.]

One Final Thought.

THOUGHT COMPLETE: CLEANING OUT THE ROOMS

BONUSES:

+1 Suggestion: Wake up +1 Inland Empire: In a new life +1 Rhetoric: By the seaside

What if you didn’t lose your memory? What if something in Martinaise came and stored it all away. For you to slowly open one box at a time. So you can *choose* which parts to keep. Keep almost none of it. Only the flowers on the windowsill. Only the distant sound of a radio. Lose all the actors, the dark shadows, leave only the still lifes, the blissful distant wash of waves. If everybody knew -- you never did. She’ll be coming soon. That is all.

Cindy's gone, but she left a trail of red paint leading down from her perch on the balcony towards the graffito.

Joyce, of course, is long gone.

There's still a few people around we can talk to, though, For example:

PLAISANCE - "Oh my god, things have gotten out of hand!" She unloads immediately: "I thought the psychic stuff was bad, but the crime... it's even worse. I haven't been able to come to work for *three days*, the shop has been locked. No sales, gang-bangers running around, shooting everyone. I know I shouldn't have bought a shop in this *ghetto*."

"Uh… I'm the one who got shot here, ma'am."

Say nothing, stare at her.

PLAISANCE - "Oh my god, even the *police* can't take care of all this... just look at that limp! Someone should do something about this." She rubs her pendant between two fingers, thinking.

"Maybe... I should close the bookstore and open a *psychic studio*! Yes!" She nods to herself. "It makes sense. Crime is the sixth element, you see. The darkest element."

"I could teach people to protect themselves against bad energies and to fight crime."

(Nod.) "Sounds like a plan. Life must go on, after all."

"Honestly, I'm not sure what to think of it."

"A 'psychic studio'? This is even worse than a bookstore in Martinaise..."

KIM KITSURAGI - "Yes, what Martinaise really needs is more vigilantes roaming the streets."

PLAISANCE - "Exactly. It's a brilliant idea. Thank you, officer! I'm going to start drawing up business plans right away."

"In the meantime, do buy the books. As many as you can. They won't be here for much longer." Determination shines in her eyes. "Is there anything else I can help you with?"

Ok, maybe talking to Plaisance again was not the best use of our time.

Someone we should *definitely* talk to, though, is...

CUNO - "Everyone says you started crying in the middle of a firefight and then bled like a pig." He shrugs. "I guess that was cool."

"Who's saying that?"

"I guess that's true."

CUNO - "People. They say you kind of *died* for a moment. That you let your shit out already, but then came back. So I guess that's what's cool now."

"Just don't think coz you got half your dick shot off -- and you're an invalid now -- Cuno's gonna treat you different."

"Cuno doesn't reward weakness," he says looking at your pathetic limp. "It's business as usual with Cuno. Cuno's cold like that."

PAIN THRESHOLD [Easy: Success] - Feels good for some reason.

+1 Morale

4. "Okay, I'm off." [Leave.]

CUNO - "Watch out, pig. It's a dangerous world out there. But Cuno's got his eyes on you."

"What's that supposed to mean?"

CUNO - Cuno starts doing the *I got my eye on you* gesture repeatedly. "Who knows?!"

🎵 Instrument of Surrender

TOMMY LE HOMME - "My man, you're alive!" He assesses the situation. "Almost... kind of... sort of alive."

"Alive and limping."

"I've been better."

"It hurts like hell, man."

TOMMY LE HOMME - "Man, what a day... I missed out on most of the action, but I heard it was quite the encounter." He nods thoughtfully. "Had a strong sense of *finality* to it."

"So what's next? You guys headin' back to Jamrock now? Talk is, local Union muscle were behind it all, I'd reckon the case is closed... even if it kinda turned into a shitshow."

"Yeah, the case seems kind of done. Gonna check on a few last things."

"I'm still looking around. Loose threads to tie up."

"It wasn't the local Union muscle, by the way."

TOMMY LE HOMME - "Hey, that's just what I heard. Old wives' tale. So -- what next?"

2. "I'm still looking around. Loose threads to tie up."

TOMMY LE HOMME - "Good luck with that, my man. Ain't easy being you, but hey, you're still breathin', right?"

"I met the lady driver, on my investigation -- she's called Ruby."

TOMMY LE HOMME - "Okay..." He seems a little apprehensive.

DRAMA [Easy: Success] - Is it... *wise* to share information about the case like this, sire?

KIM KITSURAGI - The lieutenant throws you a quick glance.

ESPRIT DE CORPS [Easy: Success] - What are you doing?

#disco elysium #kim kitsuragi #harrier du bois #cuno #titus hardie #hardie boys #plaisance #cindy the skull

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sczerbetto · 3 years ago

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À quoi ça sert, alors, les livres, si ça ne donne pas un esprit plus grand ? Régine Deforges (Dennis Perrin) #bibliobibuli #leitura #livros #leitores #frases #citações #pensamentos #livres #lecteurs #lecture #leituranaarte #leituraearte https://www.instagram.com/p/CbN11hzLSCN/?utm_medium=tumblr

#bibliobibuli #leitura #livros #leitores #frases #citações #pensamentos #livres #lecteurs #lecture #leituranaarte #leituraearte

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extrabeurre · 4 years ago

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Top 10: Les plus grands psychopathes du cinéma

Je suis retombé sur cet article que j’avais écrit pour l’édition de novembre 2013 du magazine Summum, et ça me semble un survol encore assez complet des figures les plus marquantes du cinéma d’horreur, alors je le republie ici à quelques jours de l’Halloween.

10 - Jigsaw (Saw)

Alors que la majorité des psychopathes les plus inoubliables du grand écran ont fait leur marque pendant les années ’70 et ’80, le règne sanglant de Jigsaw est plus récent, ce sinistre personnage ayant fait son apparition dans le premier film de la série Saw en 2004. On y découvrait alors ses méthodes cruelles, qui consistent à emprisonner de pauvres individus dans de dangereux pièges et à les mettre au défi de trouver le moyen de s’en échapper vivant. Tordu à souhait, son but ultime n’est pas de tuer ses victimes, mais plutôt de leur faire apprécier la vie… s’ils survivent. Ce désir malsain de tester la nature humaine est venu à Jigsaw après qu’il eut appris qu’il avait une tumeur au cerveau inopérable et qu’il eut tenté de se suicider sans succès.

9 - Frank Booth (Blue Velvet)

Dennis Hopper a trouvé un de ses rôles les plus mémorables dans le film Blue Velvet de David Lynch. Il y incarne Frank Booth, un criminel sévissant dans une petite ville de la Caroline du Nord, où il entretient notamment une relation trouble avec une chanteuse de cabaret jouée par Isabella Rossellini, qu’il violente et humilie à répétition. Ayant par ailleurs l’habitude d’inhaler un gaz mystérieux, Booth kidnappe, mutile et tue diverses personnes à travers le film, en plus de terrifier tous ceux qu’il rencontre avec ses personnalités multiples. La rumeur veut que plusieurs acteurs aient refusé le rôle, qu’ils trouvaient trop répugnant. Hopper, par contre, s’est écrié qu’il « devait » jouer Frank, car il « était » Frank!

8 – Alex DeLarge (A Clockwork Orange)

D’abord créé par Anthony Burgess dans son roman A Clockwork Orange, c’est sous les traits de Malcolm McDowell dans le film du même nom de Stanley Kubrick que le personnage d’Alex DeLarge a traumatisé d’innombrables cinéphiles. Commettant divers crimes allant du simple vol au viol et au meurtre, le jeune homme au costume blanc, au chapeau noir et à l’œil maquillé ne semble faire preuve d’aucune logique dans ses actions. Quiconque croise son chemin peut devenir la prochaine victime de ses « droogs » et lui. Il ne démontre aucun remords. Pire : il semble prendre plaisir à faire le mal, comme lorsque qu’il chante Singin’ In the Rain en esquissant quelques pas de danse pendant qu’il attaque un pauvre couple…

7 - Leatherface (The Texas Chainsaw Massacre)

Le visage recouvert d’un masque fait de chair humaine et brandissant une tronçonneuse, Leatherface est une vision cauchemardesque comme on en a rarement vu au cinéma. Apparemment inspiré du véritable tueur en série Ed Gein, qui portait lui aussi un masque de chair humaine, Leatherface n’est pas seul dans sa folie meurtrière. En effet, il est généralement entouré du clan Sawyer, une famille de consanguins qui pratiquent le cannibalisme. Dans le film original de 1974 et dans ses suites, Leatherface ne prononce jamais un mot alors qu’il traque et exécute ses victimes, ce qui le rend encore plus effrayant. Certains estiment qu’il est probablement déficient mental ou du moins comme un « gros bébé », pour reprendre les mots de Tobe Hooper, le réalisateur des deux premiers films de la série.

6 - Jack Torrance (The Shining)

Adapté du célèbre roman de Stephen King, The Shining met en vedette le grand Jack Nicholson dans le rôle de Jack Torrance, un écrivain qui accepte de s’occuper du mythique Overlook Hotel pendant un hiver. Enfermé dans ce lieu isolé avec sa femme et leur jeune fils, Torrance sombre lentement mais sûrement dans la folie et en vient éventuellement à vouloir massacrer sa propre famille. Ceci mène à une séquence iconique, réalisée de main de maître par le légendaire Stanley Kubrick, où Jack poursuit ses proches à travers l’hôtel, armé d’une hache avec laquelle il défonce une porte où il se glisse ensuite la tête pour livrer sa réplique classique : « Here’s Johnny! »

5 - Jason Voorhees (Friday the 13th)

Alors que le premier film de Friday the 13th avait pour antagoniste la mère de Jason Voorhees, ce dernier a pris le contrôle de la série à partir du deuxième épisode. Dès lors, il massacre sans répit les malheureux ayant la mauvaise idée de séjourner aux abords du Crystal Lake. Laissé pour mort à la fin de chaque film, Jason trouve toujours le moyen de ressurgir la fois suivante pour continuer son carnage. Généralement le visage caché derrière un masque de gardien de but et armé d’une machette, Voorhees est une véritable force de la nature. Sean S. Cunningham, le réalisateur de Friday the 13th, le compare d’ailleurs à un grand requin blanc, soit un prédateur impitoyable avec lequel il est impossible de raisonner...

4 - Freddy Krueger (A Nightmare on Elm Street)

Frederick Charles Krueger, Freddy pour les intimes, a envahi le subconscient des amateurs de films d’horreur en 1984 dans le premier film de la série A Nightmare on Elm Street de Wes Craven. Armé d’un gant muni de lames de rasoir et éternellement vêtu d’un chapeau et d’un chandail rayé, ce tueur en série au visage défiguré se distingue de la majorité des autres psychopathes du grand écran par sa nature foncièrement surnaturelle. En effet, c’est dans les rêves de ses victimes que Freddy leur fait subir divers sévices mortels, dont les conséquences se répercutent dans le monde réel lorsqu’ils se réveillent. Tel que joué par Robert Englund, Krueger se démarque aussi par l’humour noir dont il sait faire preuve, pas tant dans le film original, mais plus particulièrement dans ses suites.

3 - Michael Myers (Halloween)

Michael Myers (à ne pas confondre avec Mike Myers, la star d’Austin Powers!) commet son premier meurtre à l’âge de six ans, alors qu’il tue sa propre sœur le soir de l’Halloween. Interné dans un asile pendant une quinzaine d’années, il reprend du service après s’être évadé, terrorisant les adolescentes de sa ville natale, dont la gardienne d’enfants Laurie, jouée par Jamie Lee Curtis. Portant un masque et ne disant jamais un mot, Myers est une véritable figure cauchemardesque, un horrible monstre que même la mort ne peut pas arrêter. Il semble en effet être tué à la fin de chaque film, mais il refait toujours surface tôt ou tard. Selon le réalisateur John Carpenter, Michael Myers est « presque une force surnaturelle, une force maléfique qui s’est déchaînée. »

2 - Hannibal Lecter (The Silence of the Lambs)

C’est d’abord dans les pages des romans de Thomas Harris qu’on a fait sa connaissance, puis Brian Cox l’a interprété dans le film Manhunter en 1986. Mais il est indéniable que c’est lorsque Anthony Hopkins s’est glissé dans sa peau dans l’adaptation cinématographique de The Silence of the Lambs que le personnage de Hannibal Lecter est devenu plus grand que nature. Cet effroyable tueur cannibale, aussi psychiatre à ses heures, diffère de la plupart des psychopathes du grand écran par sa grande intelligence et par son charisme à glacer le sang. Loin d’être une simple brute silencieuse, Lecter parvient à entrer dans la tête de tous ceux qu’il croise et à les troubler profondément, même lorsqu’il est immobile dans une cellule de prison.

1 - Norman Bates (Psycho)

Il est un des premiers psychopathes à avoir fait des siennes au cinéma et, 53 ans après la première du film d’Alfred Hitchcock le mettant en vedette, Norman Bates demeure un des esprits les plus tordus qu’on ait jamais pu découvrir au grand écran. Incarné par Anthony Perkins, le propriétaire du Bates Motel souffre d’un trouble dissociatif depuis la mort de sa mère, dont il conserve le cadavre chez lui, en plus de régulièrement enfiler ses vêtements et d’adopter sa personnalité pour commettre des meurtres. Le plus inoubliable étant évidemment celui de Marion Crane (Janet Leigh), pour qui une simple douche est devenue un bain de sang...

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