Friday is the last of the working days in the Seven Years Seven Pieces cycle. This play closes a smaller cycle within a larger one. Next comes the weekend, Saturday and Sunday. The week is English. More or less: who can count the hours of work dedicated to this project? Imagining days off has become a luxury. The value of work is evaporating with the air of the end of times that haunts the world. The idea of the end of the world threatens to paralyze action and thought. Worse still, the idea of the end of history speeds up the race to decide who will be the last person, who gets on and who stays off the boat of history. But history is still moving, time is still moving forward inexorably. In 1947, some of the Manhattan Project scientists, who had just invented the atomic bomb, created, in response to the massacres in Hiroshima and Nagasaki and as a warning of the imminence of nuclear exile, an end-of-the-world clock, marking the time left until the apocalypse. With Trump's election, for example, the hands have moved closer to midnight. This includes the proliferation of nuclear weapons, but also climate change and the Covid-19 pandemic. In 2020 we are 100 seconds away from the symbolic midnight. It's the closest to the end that the clock has ever ticked. This Friday, Cláudia Dias gets together with those closest to her to close the week, imagine the immediate future and pass the midnight hour. Perhaps the end of this world is just the beginning of a new one.