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Is it on? - Whenever you want.
We're right in the middle of the industrial site of Chamfors.
This is where they found the child.
Building 1.
We've got permission to make this movie.
As a medical archive
for the pediatric ward of the hospital.
There you go.
She lived there.
She wasn't raped, that's for sure.
It looks more like common abuse.
Malnutrition, dehydration, mild hypothermia.
The hole allows the person to do one's needs without standing up.
The infection of the wrists proves she was chained.
How did she get out of here?
Lucie doesn't tell a thing about what she went through.
What's that? Orange juice? - Yes.
Is it for her? - Yes.
You're a real mom. - She's got no one else.
Don't worry, Anna, those gentlemen
are really nice. - Okay.
Do you know why we show you this movie?
Yes.
Why do we need you? - Because...
...you want to get the people
who hurt Lucie. - Yes, Anna.
Lucie wants that too. She says they have to get caught.
What else did she say? You talk to her for hours...
She's afraid.
Does she tell you things? - She's afraid.
What does she remember?
She doesn't know who it is.
Sometimes she thinks she remembers something, sometimes she doesn't.
What do you think? Do you think she will remember?
It was dark and she didn't see it well. She doesn't remember.
Enter.
Lucie Jurin didn't come.
Lucie?
Anna...
Don't tell, OK?
I won't. - It's not me.
It's not me.
Calm down.
Do you want to come?
Anna?
15 YEARS LATER
Give it to me!
Stop, both of you.
Damned!
You'll see how poorly she writes.
Stop, I said. - You're the worst!
Don't touch me. By the way, it's none of your business.
What do you know? You don't know what love is.
You don't have a boyfriend.
And? Are we gonna eat breakfast or not? - Yeah, yeah.
You're getting on my nerves.
I hate you.
CHAMPION 100 METRES BUTTERFLY
And you talk about it like that?
How should I talk about it? - Smartass...
A Sunday morning. Did you talk about it with your mother?
Yes. - And what did you say?
That she had problems with the pressure.
If she works, she ain't happy. - Are you happy?
I'm having fun. - I'm having fun.
Done. - Good.
Here.
A gift.
Damned, Gabrielle. - Gross!
In the main pipe?
There's you shower that doesn't run like it should.
Gross. - Come on, let's eat.
Yeah, I'm being gross, but now we can use the garden again.
Did Antoine talk about his big projects?
I asked what you thought of them.
No, you wondered if she was pissed off. - Don't start. It's none of your business.
It's my brother. - Your brother's a dreamer.
Hey, Antoine?
You can't leave a school that costs that much after 3 months.
Definitely not if you pay in advance. - There you go.
- Stop it, you! - She's always bragging since the newspaper article.
Are you gonna do it every time? - What?
Even for your graduation we had to pay a private school.
With a lot of effort. - I did graduate.
Thank God. Did you know how much it cost?
Your money, for the trimesters. To hear you didn't care at all.
Really, Antoine, isn't it hard to be so irritating?
That school... it's not the same.
I wanted to do something I liked.
We didn't force you. - No, but...
law school, it's not my thing. - You can get anywhere with it.
That's not the point. He wants to live with his girlfriend.
Law school, it's not my thing. - Whatever, Antoine.
There's nothing you like. Once you even wanted to become a baker.
That's unheard of.
Who's the butthole?
- Be friendly, Marie Belfond. - It's Sunday.
So? Why do you need to rest on Sunday?
Your week in the factory?
Stay there. Don't move!
Don't move!
Sit down!
How old are you?
18.
Do you know what your parents did?
Why did you do that to me?
Why?
It's them. - Lucie?
It's them, Anna. - Did you see them?
They've changed, but it's definitely them. - Are you sure?
I'm telling you. - Lucie, it's been 15 years.
And you find them in a paper? - I'm telling you.
We'll call the police. - Don't bother.
What? - I did what I needed to do.
What did you do? - What I needed to do!
You had to observe them. You weren't sure. - I'm sure.
I knew I had to come along - Why don't you believe me?
Where are you calling from?
From the house. - From theirs?
Yes. - Give me the address.
Lucie, give me the address!
I did it...
Look...
I did it...
It's me, Lucie. It's me. Calm down. It's me.
She's there.
She's in the house. - I know.
She hurt me more than before.
Stay here.
Where are you going?
I have to go take a look. - She's there.
I have to go take a look. - She's in the house.
Look at me, I have to go take a look. Wait for me.
She hurt me more than before. - I'm coming, Lucie.
What am I going to do?
I'm coming.
I don't have any more shells. - You won't be needing them.
- Why don't we leave? - Come.
She'll come back.
Come.
You called me from here Everyone will know it's us.
I don't care. - Yes.
I don't care. - Sitting in a cell. You DO care.
What are we going to do? - Don't move.
It hurts. - Sorry.
What are we gonna do, Anna?
Are you OK?
Are you repulsed? By what I did?
Do you smell this?
That foul stench?
I smelled that every time she bent over me. Everyday.
Do you understand?
When she hit me, I smelled that.
Look.
It's them.
What are you doing?
Do you think I'm gonna get out of this?
Yes. Yes.
Please, don't make a sound.
Anna, what are you doing?
Are you okay? - Yes.
I called.. - I was there.
I thought she came back. - No.
Are you ready? We're leaving.
We're gonna clean the house - Are we leaving?
Get dressed.
Lucie!
Open up, Anna. - It's closed, Lucie.
Open up!
Quick!
What do you want?
Leave me alone.
I killed them!
Even the children!
I even killed the children!
Calm down! Calm down!
Get away from there, whore!
I'm gonna kill you!
Sorry.
It's not my fault.
Where are you?
Anna, I know you're in there. Open up!
I'm coming.
What's your name?
Gabrielle...
I'm coming, Lucie!
You have to help me, Gairielle.
Why did she do that?
I think she heard us.
It has to go fast.
An ambulance. - I can't.
For my kids...
Come on!
Right up to the forest. After that you're on your own, OK?
No! Stop!
Stop! Lucie!
Why did you defend her?
She didn't do anything, Lucie. - She hurt me!
To me!
Do you want her to live?
You never believed me!
Stop!
You think I'm crazy. Like the others. Like the doctors.
What did they do for me?
Apart from saying I'm crazy? And you're like them?
It's over, Anna!
They're dead. They won't hurt you again.
Stop!
No!
Why are you calling me? Huh?
I don't hear a thing from you for two years, and then you call me.
Yes. - I'm angry at you, Anna.
I'm not gonna lie. - Mom.
What do you want? Make me feel guilty?
No.
Don't you think I feel like that? Don't you think I'm not thinking about
all the things that I've been missing out on?
No, mom, that's not it. - What is it then?
I wanted to speak to you, that's all. I wasn't thinking.
Like that. On a day you decide you're missing your mother.
Are you doing fine, you've got no problems? - No.
Are you sure? Where are you?
Far away.
Where do you sleep? How do you make a living?
- It's OK, mom. - Are you still with her? Is she influencing you?
No.
My God! You're still with her.
It's still the same. - Mom...
Anna, she's worthless, she's a slut.
She's worth less than nothing. Don't stay with her.
Anna?
Don't you have anything to say?
Don't move.
I can't take care of you.
Don't be afraid.
Calm down.
Rest.
Sorry.
Stop!
Who's the girl on the couch?
Who is it?
Lucie...
- Lucie who? - Lucie Jurin.
And you?
And?
Anna Assaoui.
We're trying to reach the Belfonds for hours. The phone's been busy.
- The phone's off the hook. - That should not be happening.
Can you tell me what's happening here?
What are you doing here?
Lucie Jurin escaped 15 years ago, correct?
Correct?
Yes.
It was a time in which we were less organized.
Gabrielle shouldn't have let it happen. The girl found her.
After 15 years. That's shows a lot of persistance.
But in the end, Lucie is a victim.
Like all the others.
It's easy to create a victim. Very easy.
Lock someone up in a dark place, they start to suffer.
Feed that suffering.
Methodically, systematic.
And cold. And keep it going.
The subject goes through different stages.
After a while the trauma,
that little crack that happens so easily,
makes it see things that aren't there.
What did poor Lucie see?
Didn't she see things?
Not even monsters?
Things that wanted to hurt her?
A dead girl.
There you go.
A dead girl.
The girl you found. Sarah Dutreuil. She saw insects. Cockroaches, everywhere.
They we're crawling over her. She had rather chopped off her arm then to go through that.
People don't want to suffer anymore.
The world has come to a point
that there are only victims left.
Martyrs are rare.
A martyr, that's something else...
A martyrs is an exceptional being.
It survives suffering, the lacking of everything.
We burden it with all the evil of the world,
and he transcends himself.
Do you understand that? He changes shapes..
Longsheng, 1912.
That women doesn't believe in God.
She tried to steal a chicken. And she pays a high price.
The moment the picture was taken... she's still alive. Look at her eyes.
Jouans-Lussac, 1945.
That woman is a grocer. She slept with a German.
Back then the French were sensitive. She had to pay.
She's still alive. Look at her eyes.
Central Hospital of Birmingham, 1960.
The atheistic housekeeper without a story
was terminally ill and the morphine had no effect anymore.
Look at her eyes.
This one was beaten up by her husband. Jealousy...
This one just spent 9 hours in the wreckage of her car.
This young leukemia patient is dying. The pains gnawing.
This woman has a rare disease. She suffered for nine hours.
Look at their eyes. Look.
All of them. Do you hear me?
They were all alive when these pictures were taken.
So tell me again that the idea of a martyr
is an invention of the religious world.
We've tried everything. Even children.
It's proven that women
are more sensitive for a transformation.
Young women.
That's how it is.
Anna?
Are you there?
I'm here.
Anna? - Yes, Lucie.
Why are you never afraid?
Sometimes I'm afraid.
Not like me.
I didn't go through the same thing as you.
What do you have to do to stop being afraid?
I think you have to let yourself go.
Do you think so?
Let oneself go.
If I can't do it, will you be there for me?
Yes.
I miss you.
You're not afraid anymore, Anna.
You're not afraid anymore.
It will be okay, Anna.
It will be okay.
The suffering is almost over.
There's one stage left.
The last one.
It will be OK. You don't have to defend yourself anymore.
It's OK, Anna.
Is she persevering? It's amazing.
Michel! - What is it?
Now. I went to feed her. A few minutes ago.
Are you sure? - Like I said,
I never saw an expression like that.
She's liberated. Completely liberated. Here face is like...
Miss, her eyes...
She doesn't see what's happening around her.
But is she still... - She's still alive.
Did you see it?
The other world?
Yesterday, in the afternoon,
around 12:15,
Anna Assaoui was martyred.
I ask you with the utmost respect to think of her.
Anna Assaoui is an exceptional being.
In the 17 years of trying
she's only the fourth to reach this stage.
And the first, yes, the first...
to make known what she has seen.
Between 12:15 and 2:30,
Miss Assaoui clearly saw what comes after death.
You heard well.
Her ecstatic state lasted for 2 hours and 15 minutes.
It was not a near-death experience.
What she experienced, was an authentic martyrdom.
At 2:30 she left that state.
And at 3:05 she spoke.
At this moment she is still alive.
But she isn't talking anymore.
Miss heard her testimony.
That testimony, my dear friends,
will be shared in a few moments.
Miss...
they are waiting.
I'm coming, Etienne.
So there IS something?
Of course.
Was it clear?
Very clear.
And precise?
There was no room for interpretation, Etienne.
Thank you, Miss.
Etienne?
Miss?
Could you imagine what comes after death?
Are you OK?
Could you? - No, I...
Keep doubting, Etienne.
martyr:
noun
from the Greek word "marturos"
witness
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