LE RENONCEMENT


Réalisateur : Mike Adams / Scénariste :  Martin Allen

L'HISTOIRE

Helen se réveille avec une mine épouvantable et jette une bouteille de vodka vide à la poubelle. Sean lui demande si elle a parlé à son père du mariage. Elle répond négativement en lui disant qu'il n'a jamais approuvé quoi que ce soit qu'elle ait fait jusqu'à présent et que ce n'est pas le fait qu'elle se marie qui va le faire changer d'avis.

Après la soirée bien arrosée offerte par les deux Julie, Crystal dit aux autres détenues que ce n'était pas bien de faire ça et "que si les journaux savaient ce nous faisons, ce serait un scandale !" Lorna est de retour de vacances. Zandra vient voir Shell mais celle-ci lui dit qu'elle veut laisser tranquille l'officier. Shell est très calme et cela surprend Fenner. Il vient la trouver dans sa cellule et elle lui dit qu'elle veut changer et se tourner vers la religion.

Helen arrive à la bibliothèque pour voir Monica, mais tombe sur Nikki. Celle-ci s'inquiète de la mine déplorable d'Helen et lui demande ce qui se passe. Visiblement mal à l'aise en la présence de Nikki, Helen lui dit qu'elle cherche Monica et s'en va. Zandra, visiblement en manque, passe sa frustration sur la fenêtre avant que Crystal n'intervienne et l'ouvre pour elle. La jeune femme, enceinte, en profite pour lui dire que Shell semble s'être achetée une conduite en arrêtant de dealer, et que cela devrait la contenter puisque c'est grâce à la religion. Crystal reste sceptique quant à la rédemption de Shell mais changera d'avis quand elle croise la jeune femme à la buanderie. Après avoir expliqué ses motivations, Shell suggère à Crystal d'écrire une lettre sur les histoires de drogues qui se passent à Larkhall en mentionnant clairement l'aile G et le nom d'Helen Stewart et ensuite de l'envoyer à un journal.

Monica décide d'abandonner la procédure d'appel, mais Helen tente de la convaincre de ne pas laisser tomber. Mais Monica reste inflexible. Il n'y a plus rien à l'extérieur de la prison qui l'attend depuis le décès de son fils. Helen demande à Nikki de faire tout son possible pour convaincre Monica de reprendre la procédure. Helen a raison de se faire du soucis pour Monica. Au lieu de prendre les cachets de tranquillisants prescrits par le médecin, elle les cache dans son tube de dentifrice. Alors qu'elle les compte soigneusement, elle manque de se faire prendre par Nikki qui est venue essayer de la convaincre de reprendre son appel. Dans l'urgence, elle cache les cachets dans l'évier et par peur que Nikki les découvre, elle acceptera de reprendre contact avec son avocat.

Tout le monde semble vraiment sceptique du brusque changement de Shell et Denny est furieuse que son mentor agisse de cette façon. Nikki téléphone à Helen pour lui dire que Monica a accepté de reprendre la procédure d'appel. C'est Sean qui répond et lorsqu'il passe le combiné à Helen, Nikki raccroche sans avoir prononcé le moindre mot.

Fenner découvre l'article dans le journal "The Gardian" et n'hésite pas à le lire à haute voix dans la chambre des officiers quand il voit que le nom d'Helen y est clairement mentionné. A peine arrivée, Jim se fait un plaisir de lui mettre l'article sous son nez. Pendant qu'elle prend connaissance de l'article, Helen est convoquée par Stubberfield. De leur côté, les deux Julie et Zandra n'hésitent pas à dire ce qu'elles pensent à Crystal. En effet, un tel article signifie qu'il n'y aura plus de visite personnelle ! Shell et Denny exultent littéralement. Helen tente de se défendre face à Stubberfield en lui disant qu'elle a tout fait pour empêcher le trafic de drogue à l'intérieur de la prison.

A peine sortie du bureau du directeur, Helen va voir Nikki et cette dernière lui confie qu'elle a essayé de lui téléphoner la veille au soir pour lui annoncer la bonne nouvelle. Helen est soulagée et semble passer par-dessus le coup de téléphone de Nikki. Shell a réussi à convaincre Lorna Rose qu'elle en avait fini avec la drogue mais lui demande de rapporter une toute dernière chose : une bouteille de parfum ! Lorna accepter mais lui dit que c'est la dernière chose qu'elle rapportera. Le lendemain, un paquet est livré chez Lorna et elle l'examine sur toutes les coutures pour bien s'assurer qu'il n'y a aucune drogue.

CAPTURES DE L'EPISODE

 Sean : Takes the body 36 hours.

Helen : To do what?

Sean : To get rid of the alcohol from a glass of wine.

Helen : How long does it take to get rid of the shit from a day on my job?


Après une mauvaise nuit, les journées sont difficiles...


Helen arrive à la bibliothèque à la recherche de Monica et tombe sur Nikki...

 

 


Nikki : You look a bit pasty Helen, heavy night?
Helen : I'm looking for Monica.
Nikki : I've not seen her all day, what's wrong? Is it because I called you Helen? I thought you didn't want us to be formal.
Helen : No, I don't.
Nikki : So what's the problem? You wanna be informal but you don't want to be called Helen?
Helen : No.
Nikki : You can't have it both ways.
Helen : This is difficult for me, as I think you know.
Nikki : (Stands inches away from Helen) So what do you want? (Helen takes a step back) Sorry, am I making you feel uncomfortable?
Helen : (Thoroughly confused and backing away) If you see Monica will you tell her that I'm looking for her?

Helen quitte la bibliothèque en regardant Nikki d'un air exaspéré.

Helen réussit à s'entretenir avec Monica :

 

Plus tard dans le jardin...


Helen : Nikki, can I have a word?
Nikki : You again?
Helen : Look, I need to ask a favour. It's about Monica, I know I shouldn't be telling you this but I've run out of ideas. She's refusing to go through with her appeal.
Nikki : What?
Helen : She says that she doesn't care anymore now that Spencer's dead.
Nikki : Have you talked to her?
Helen : Me, her solicitor, a couple of officers, she just doesn't want to know.
Nikki : And you want me to have a go?
Helen : Could you? I know that she respects you.
Nikki : I'll try.
Helen : Thanks, and I haven't said anything okay?
Nikki : Sure Helen, it's okay.

Helen et Sean sont sur un canapé... le téléphone sonne... que fait Helen ?

 

    


Une nouvelle journée commence à Larkhall :


Helen tente de se défendre face à son supérieur :

  

 

Helen : I've tried everything I can to stop the drugs getting into the prison. I might as well stand on the beach and tell the tide to stop coming in!

...mais pour Stubberfield, il est clair qu'Helen est à blamer.

Alors qu'elle est toujours sous l'effet de la colère de Stubberfield, Helen va parler à Nikki...

  

 

Nikki : I'm sorry about the letter.
Helen : Doing the rounds is it? Well, only to be expected.
Nikki : I phoned you last night.
Helen : I thought it might be you. How did you get my number?
Nikki : Directory inquiries, out of order, I know, I'm sorry, I just wanted to tell you the good news.
Helen : What good news?
Nikki : I think I've got Monica to reconsider.
Helen : Thank God something's gone right today, well done.
Nikki : I thought it might cheer you up. Don't worry about the letter.
Helen : No?
Nikki : You've got lots of other things to look forward to, like a wedding to plan.
Helen : That's right. Anyway, well done about Monica. I'll see you Nikki.
Nikki : See you Helen.

Helen  face aux problèmes de drogues à Larkhall :

  

  

  


Lorna se fait piéger par Shell et se retrouve arrêtée :

 

Helen dans les bras de Sean... pour la dernière fois ?


 Après une journée difficile à supporter les complots des gardiens contre elle et la décison de Stubberfield cocernat les vistes aux détenues, Helen arrive dans la cellule de Nikki. Celle-ci lève les yeux vers elle et remarque qu'elle est plus que légèrement bouleversée...


 

Nikki : Don't let the buggers get you down!
(Helen walks into cell, closes the door behind her and sits down next to Nikki on her bed)
Helen : What you reading?
Nikki : 'Little Dorrit', it's a story about a terrible prison.
Helen : Thank goodness we got rid of all of those!
Nikki : You're doing your bit Helen, most of the girls in here know that deep down.
Helen : (In tears) Yeah? But for how much longer?
Nikki : Hey, come here! (puts her arm around Helen)
Helen : I'm just getting it from all sides Nikki, you know?..From above and below. (totally in tears now) It just would be so much easier just to give in.
Nikki : (grabs Helen's face and pulls it towards her) You mustn't think like that.
Helen : No?

 

  

Nikki : Sorry! (slams fist down on bed) I shouldn't have done that!
Helen : No you shouldn't!

 

 

(Source, Captures et Dialogue : Afterellen.com - badgirlsannex.com - Gwens'world )

 

ANALYSE DE L'EPISODE

AUTEUR : JENNIFER T

A Father's Approval

A father represents authority, be it familial, professional, or religious.  And approval from this kind of authority, be it a biological father, a boss, or God, is perhaps one of the most elusive of human longings.  This episode offers a complex mix of the three, as characters struggle between the desire to gain approval from an authority figure, or the impulse to reject that authority and seek what they desire outside it.

As always in season 1, Helen's struggle provides the core or foundation for this theme. For the first time, we learn a little bit about her family background, specifically her disapproving father.  Helen hasn't told her father about her upcoming nuptials because, as she tells Sean, "he's never approved of anything I've done in my life.  I can't see this being any different."  Her bitter sarcasm shows that even as an adult, she's not gotten over her desire for her father's approval, nor her anger and sadness at not getting it.  A deeper subtext pervades this exchange, however.  The scene begins with Helen opening the door to her garden and staring out, while Sean, one window over, pulls up the shade.  The visual effect implies each is contained in their own, separate, confining cell.[1]  This visual confirms the distance Helen feels from Sean: she doesn't want to marry him.  Helen is struggling with the difficulty of living with doing the "wrong" thing: she is already living her life in a way her father doesn't approve of, and she's contemplating even more drastic decisions which will make her life even less the kind of life typically approved of by fathers. She knows either way there's no happily ever after.  Even if she breaks free from the constraints of her family and upbringing, it's not easy to just let go of the desire for approval, and of the resentment when that desire isn't fulfilled: "it doesn't actually work like that."

Helen's romantic equivocations are mirrored at work as well.  She wants the approval of her boss, Stubberfield, as well as the approval of her pet inmate, Nikki.  The scene between Helen and Nikki in the library highlights Helen's inner dissension.  Nikki assumes a certain intimacy with Helen from the moment Helen walks in, but Helen is distracted, looking anywhere but into Nikki's eyes.  Nikki comments with annoyance: "You want to be informal but you don't want to be called Helen.  You can't have it both ways."  Helen replies with a vague statement: "This is difficult for me, as I think you know."  But what could Helen possibly mean by "this"?  Nikki is right, Helen can't have it both ways.  She can't look to Nikki (i.e. outside the official prison system) for support and approval while also insisting on sticking to the system's rules and formalities.  But Helen does want both, and that is what's difficult.  She wants approval from both Nikki and Stubberfield (and, of course, from her father).  Which is why she doesn't reply to Nikki's insistent question: "So what doyou want?"

Through the remaining 42 minutes of this episode, Helen struggles to resolve the answer to that question, realizing the comforts and supports she gets when she works outside the official system,[2] and the lack of approval when she works within it. She secretly, unofficially, asks Nikki to help her convince Monica to go through with her appeal.  Helen has already exhausted the official channels: Monica's solicitor and numerous other officers have failed in their attempts to persuade Monica to resume her appeal.  Nikki agrees to help, and she ends the conversation by calling Helen by her first name.  This time Helen doesn't object—she knows she's in full breach of the hierarchical rules and regulations of the prison.  

Throughout the episode, Nikki continues to offer herself to Helen as an outlet, an alternative source of support when the traditional systems and authorities are failing Helen.  When Helen goes from Sean's yammering at home to Stubberfield's reprimand regarding Crystal's letter to the Guardian, Nikki tries to interrupt the two, chasing after Helen before she enters the prison for work.  Helen puts her off, not realizing that (perhaps only metaphorically) Nikki is trying to save her from having to face her disapproving boss.  Nikki consistently interrupts or rejects any sort of pre-defined rules or standards of behavior.  She calls Helen at home, even though she knows it's "out of order."  Helen both wants these disruptive advances and doesn't want them.  And when Helen reaches her breaking point, and seeks Nikki out in Nikki's own space, Nikki provides her with emotional reassurance that goes a step too far.  After they kiss, Nikki acknowledges "I shouldn't have done that"—but Helen's search for support and comfort outside the socially and legally acceptable realms has simply arrived at its inevitable conclusion.

Helen isn't the only character breaching authority by seeking agency outside official channels.  Monica is refusing both medical and legal advice.  She's given up her appeal and is hoarding her pills.  She doesn't want official legal freedom; she wants complete freedom from all of life's pressures, and suicide offers that.  As she points out to Helen, "There's no law says I have to appeal."  There is no authority powerful enough to thwart her desire for oblivion, not Helen and not the legal system.  Only Nikki, with her very personal intrusion into Monica's cell, can even get Monica to verbally agree to continue her appeal.[3] 

Crystal and Shell offer the most complex juxtaposition of operating both inside of and outside of authoritative structures.  Both of them believe strongly in their respective systems of authority.  As a religious Christian, Crystal believes in God's law and authority, unquestioningly.  Shell is quite content to work within the prison's authority, earning its rewards and approval whatever way she can: her primary goal is to get moved back to Enhanced.[4]  However, in their anti-drugs initiative, both Crystal and Shell strategically employ an alternative authoritative structure to achieve success.  Shell pretends to be religious (religion being the authority to end all authorities) in order to manipulate Crystal into doing her bidding.  Crystal reaches out to the press, one of the more powerful arm of social judgment and authority, writing a letter to the Guardian to complain about drugs in prison.  

When Helen discovers what Crystal and Shell have done, she is furious that they have not worked within the system:

Helen: The way around this is to help one another.  Not go behind each other's backs like you did with this letter.
Crystal: There's no law against writing letters.
Helen: That's not the point....I don't make the laws in this country.  I just have to work within them as best I can....
Crystal: With the law not protecting the ordinary person.  So the ordinary person got to do what they got to do.  Which is why I wrote the letter, innit?

Crystal is right: there is no law against writing letters, nor is there a law which protects her from the indignities of strip searches for drugs.  But Crystal didn't respect Helen's authority as Wing Governor.  Instead, she went outside the prison procedures and used the letter to the press as an opportunity to undermine Helen's authority.  Yet again, Helen finds herself pulled from both sides, understanding Crystal's desire to use whatever unauthorized strategies are available to her, but also feeling her own need to maintain control over the wing.  Not surprisingly, given her religious faith, Crystal still believes in the ultimate dominance and responsibility of those in authority.  She sees the resulting mess from her letter as Helen's fault (the fault of the authority), and thinks Helen will need the help of the highest authority to get out of it: "Only God can sort the mess you got yourself into."  Of course, God is not where Helen seeks help. 

The episode concludes with hints of the triumph of those who reject the system.  Yvonne, the gangster's moll, arrives at Larkhall.  Yvonne is the queen of alternative authorities; it's the essence of organized crime.  And even though Stubberfield orders closed visits, and gives Helen no say in the matter, Helen finally actively moves away from seeking the approval from the un-please-able father figures, getting support from Nikki in a way which blows her mind and gives the audience cause for celebration.  The nightcalls reflect this newfound power in anarchy, as the prisoners celebrate Monica's impending freedom, ask Crystal whether she's got more letters planned, and crow over Yvonne's adventures with hitmen.

(Source de l'analyse :www.badgirlsannex.com )