Malgre Tout by Anna Tchernakova and Tessa McWatt ©1996 AT and TM
Part 2
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29 INT. NIGHT - KITCHEN 29
JULIA and PHILLIPE enter the kitchen. SOPHIE, SYLVANNE, MARTINE,
MARC, AND NAT are busy, preparing. SOPHIE is showing MARTINE
how to open oysters. They are all watching as MARTINE struggles
with her first one. They wait. The conversations take place in a
mix of French and English.
PHILIPPE
(introducing) )
I think you know the others... this
is Nat. This is Julia.
JULIA recognizes NAT. He's still wearing his pilot's uniform.
He nods at her, grinning. JULIA swigs on her drink. She remains
silent, uncomfortable as the others are engaged in helping
Martine.
SOPHIE
(to Martine) )
That's it, keep the blade under
here, or it'll shatter... now push...
MARTINE tries.
MARC (in French)
With a little more force...
SOPHIE
Just pop it up...
PHILIPPE approaches JULIA.
PHILIPPE (in French)
Here, have one of these
He holds a pepared oyster up for her to swallow.
JULIA takes it. At that moment, MARTINE pops her oyster open.
It sprays on all the observers.
SOPHIE
(to Martine) )
You've got the idea, anyway.
They all return to their own piles, working and talking.
MARTINE struggles with another. JULIA takes up a garbage bag
and moves around picking up some of the flung pieces.
She holds it for the others as they do their work, with lots of
water and shell flying. She stands next to MARC and NAT as they
work.
NAT (has a strong accent)
(to Marc, but
distractedly, while
he's searching in his
pocket for
something)... )
I've been doing passenger flights,
recently...
He pulls out navigational objects: a compass, some logarithm
tables, then finds a screwdriver and starts to use it on his
oysters
MARC
(opening oysters
quickly,
effortlessly) )
My dad flew those too, before he
retired...and before that rescue
flights in the war... taught me a lot
of things about motors and engines...
You like it?
JULIA looks at NAT. He catches her eye, and he starts to look
through his pockets again.
NAT
(to Marc)
...prefer solos...I like the space
and time to think, to talk....
He pulls a napkin from his pocket and wipes off his face.
MARC
... solo flights to talk?...
NAT
yea, well, it's closer, the talking's
easier...
MARC
What do you mean easier... I don't
understand...
SOPHIE
(to Julia) )
I need that bag over here...
MARTINE pops another shell, water sprays.
JULIA goes to the other side of the counter with the bag.
PHILIPPE opens oysters quickly, sneaking some for himself,
eating quickly and with great relish.
JULIA, holding the garbage bag, witnesses another conversation.
She tries to be interested.
SYLVANNE
(to Sophie). )
What's the name of the Greek
character who searches for love her
whole life?
JULIA
(to Sylvanne) )
Psyche...
PHILIPPE
Oh shit
He drops his screwdriver and sucks his finger.
SOPHIE goes to him to check to see if he's ok. While the others'
attention is on Philippe, JULIA goes to the telephone and calls
to check her messages.
WOMAN'S VOICE (OFF -- taped)
You have one new message.
JULIA presses 11, eagerly, anxiously.
WOMAN'S VOICE (OFF - taped) (CONT'D)
The following new message has not
been heard. First message:
MICHAEL'S VOICE (OFF -- taped)
Jules. I just talked to Bruce. He can
get us a gig for a week in Winnipeg.
It's not exactly Cuba ... but at
least it's somewhere else... what do
you think? Happy New Year.
JULIA hangs up.
She goes over to PHILIPPE, who is bandaging his finger.
JULIA
(to Philippe) )
Great news. We're going to Manitoba.
PHILIPPE
You're kidding. When?...
MARTINE pops an oyster shell. Water sprays. The others move away
from her, but she's oblivious.
JULIA takes up the garbage bag and puts oyster shells from the
counter into it, then holds it while listening to the
conversation.
SOPHIE
(to Sylvanne) )
Right, Psyche...but Venus captures
her and makes her a slave. Sorting
seeds.
SYLVANNE
Huh?
SOPHIE
She has to sort millions of mixed
seeds by morning.
MARC
We need that bag over here...
JULIA moves over to NAT, MARC, and MARTINE.
NAT
(to Marc) )
....flying's like that, you don't
have to understand... just trust...
He keeps looking over at Julia. MARTINE pops one, water and
shell fly.
JULIA takes up the shells and puts them in the bag.
PHILIPPE is arranging oysters on a large platter, still
ocasionally slurping one on the sly.
MARTINE, NAT, and MARC are finished shucking their piles of
oysters and are helping to prepare the trays.
MARTINE
(to Nat) )
You mean when you're talking to the
control centre....
NAT
(to Martine) )
You could call it a kind of control
centre...
He smiles at Julia, who looks up at him briefly, then away.
MARC
So what made you decide to live in
Montreal?
JULIA looks back over to catch the answer.
NAT
It's the place that seems to reject
me the least .... The map's not the
territory.
JULIA looks away, moves back toward Sophie.
SOPHIE
(to Sylvanne) )
She weeps, doesn't know where to
start, but then hears a scratchy
voice from the floor asking her what
the matter is...
MARTINE
(catching a part of
the conversation from
the other side of the
kitchen) )
A mouse?
SOPHIE
No ... a tiny ant, who says he can
help her....
MARTINE
(to Marc, cutting
lemon to place on the
tray) )
I puke in small planes...
MARC
But they're safer...
MARTINE
... doesn't matter,... I just have to
look down and that's it...
PHILIPPE
(so that Sophie,
Julia, and Sylvanne
can hear, but to
himself, with an
oyster in his mouth)
I'm going to grow old with my cat...
in peace...Ants aren't lonely...
He guzzles some champagne
SOPHIE
(to Sylvanne, Julia,
Philippe. Nat looks
up and listens to
this) )
He calls friends and relatives,
millions of ants ... and they sort
the seeds for Psyche. But what does
that has to do with anything? What
were we talking about?
NAT tries to say something to SOPHIE. He searches again for
something in his pocket;
he pulls out the telescope, but he doesn't get a word in. MARC
and MARTINE start to listen to the conversation.
SYLVANNE
(to Sophie) )
It has to do with the fact that she's
a slave... a slave of love.
MARC
We're all slaves...
MARTINE
To mice...
MARC
To oysters...
SOPHIE
(cynically) )
Ah, come on, that's just a fairytale
....I know I'll never flip out over
love again.
SYLVANNE
That's if you don't really let go.
MARTINE (in French)
That's true. As much as you love is
as much as you'll be hurt.
JULIA appears destabilized. There's an uncomfortable silence.
JULIA fakes control and levity. She throws out:
JULIA
Oh, I thought love was just a disease
you caught from sex.
The others laugh. SOPHIE takes up a tray, and on her way out of
the kitchen pats JULIA on the shoulder, laughing. JULIA catches
NAT's eye, who's looking at her, not laughing, just smirking.
JULIA leaves the kitchen and goes over to the dancers.
30 INT. NIGHT -- APARTMENT 30
JULIA watches the dancers. NAT comes up behind her and speaks
to her from over her shoulder.
NAT
You really believe that?
JULIA turns around.
JULIA
What do you mean?
NAT
Maybe it's the other way around.
JULIA
(she's put off, but
she covers up) )
Statistics will back me up on that
one.
He comes beside her. They stand watching the dancers for a few
minutes. She is drinking a lot.
In the background, SYLVANNE is handing out the presents, and
people holding slips of paper are looking for the person to whom
they will give their present. JULIA watches this, backing away
from it all. NAT stands beside her.
JULIA (CONT'D)
So, you've been all around the world?
NAT
Just about.
JULIA watches as SOPHIE makes her way through the party offering
oysters. When she gets to a tall attractive man in a corner,
she trips and spills the oysters all over him. There is
commotion and Sophie apologizes, trying to clean him up. They
laugh. There is an obvious attraction between them. SOPHIE is
off-guard, nervous, but flirtatious. JULIA turns away and looks
at NAT, who is searching again in his pockets. Things fall out.
JULIA bends to pick them up.
SYLVANNE arrives with an open bottle of champagne and some
glasses.
SYLVANNE
Here... pour some.. countdown in 5
minutes.
She hands the bottle and glasses to JULIA, who just stands
holding them, not pouring. SYLVANNE takes other bottles to
other guests.
JULIA
Flying somewhere tonight?
NAT
Just got back (he's fumbling with
things in his pockets).
JULIA
Ever been to Winnipeg?
NAT
Just the airport.
JULIA
What about Vancouver?
NAT
Good climate...
JULIA
(probing for a
solution for herself)
Someone told me they need English
teachers in Korea. Ever been?
NAT
Good food... Kimchee...
JULIA
Or Japan...are there jobs there?
NAT
Depends...
The music goes off. A VOICE from the other side of the room
yells:
VOICE (OFF)
Everyone grab your glasses! 20
seconds!
JULIA
Where would you go, if you could go
anywhere?
NAT
I'd stay here.
JULIA
Yea, ...
(decisively, almost to
herself) )
I'm stuck with Winnipeg. It might
prove itself.
EVERYONE in the party begins to count backwards from 10,
shouting each number in anticipation.
NAT
(above the noise) )
You seem to need proof.
She looks at him strangely.
The crowd reaches ONE! They all shout HAPPY NEW YEAR. Everyone
starts to kiss, embrace, wish each other a happy new year. NAT
and JULIA stand just staring at each other, then looking around,
then back at each other. JULIA hands NAT the bottle of
champagne and the glasses.
JULIA
I have to make a call.
She makes her way through the crowd. A few people try to kiss
her. NAT watches her go into Sophie's bedroom.
31 INT. NIGHT -- BEDROOM 31
Julia finds the phone, the noise is loud from the rest of the
apartment, with everyone celebrating and moving in and out. Some
come into the bedroom to shout. She closes the door. She dials
the number.
WOMAN'S VOICE (OFF -- taped)
You have one new message.
She presses 11.
WOMAN'S VOICE (OFF -- taped)
(CONT'D)
The following new message has not
been heard. First message:
VOICE OF GILLES (OFF -- taped)
(laconic) )
On n'a pas a parler. Il n'y a rien a
se dire. Point a la ligne. Ne
m'appele plus. Merci.
WOMAN'S VOICE (OFF-- taped)
End of message. To erase this message
press 7, to save it, press 9.
JULIA does nothing, just sits and stares, incredulous.
WOMAN'S VOICE (OFF -- taped)
(CONT'D)
To erase this message press 7, to
save it, press 9.
JULIA presses 5.
WOMAN'S VOICE (OFF -- taped)
(CONT'D)
Sent today, at 11:37 pm. Eight
seconds. To erase this message press
7, to save it press 9.
JULIA still does nothing. The VOICE repeats, one more time: To
erase press 7, etc. Then:
WOMAN'S VOICE (OFF -- taped)
(CONT'D)
Sorry you were having trouble. Please
try again later. Goodbye.
JULIA hangs up the phone. A few seconds later, she breaks down,
crying desperately into her hands. She searches for her coat on
the bed. She puts it on and just sits on the bed. She can't
stop crying. She puts her hood up and leaves the party.
32 EXT. NIGHT -- STREET 32
JULIA walks along a path in the park in front of Mount Royal.
She is still crying. She picks up some snow and eats it.
People are out on the street and in their homes celebrating.
Cars are honking.
She stops and looks at a house (GILLES') across the street,
which has lights on in many rooms and people sitting in the
living room toasting, eating, talking.
JULIA
Rien a se dire?
SUDDENLY FROM BEHIND HER:
NAT
Most of the time clarity's silent.
JULIA shrieks, is startled.
NAT (CONT'D)
I drew your name, but you left, I
didn't get a chance to give you this,
your present.
He hands her a glass identical to the one she broke in her
kitchen. JULIA looks at it in his opened palm, then looks up at
him, very confused. She pushes his hand away and starts to walk
away. NAT follows her.
NAT (CONT'D)
Can I walk with you?
They start to walk.
JULIA
Look, I'm really tired...
She starts to speed up, trying to lose him, but he catches up
and walks beside her.
33 EXT. NIGHT -- IN FRONT OF JULIA'S APARTMENT 33
JULIA and NAT are in front of the garbage pile we saw him at
previously. NAT picks through some more of the debris of the
nativity scene.
NAT
I go up everyday, and sometimes we
need evidence.
JULIA
Evidence?
NAT
For the right conversations.
JULIA appears nervous. She heads across the street.
JULIA
(over her shoulder) )
Goodnight.
NAT follows her and puts out his hand in front of her offering
to shake hers. She looks at it and then grabs it limply giving
it a brief shake.
34 INT. NIGHT -- APARTMENT 34
JULIA is undressing. She goes to the phone, picks it up and
checks her messages. The message operator says: "YOU HAVE NO
NEW MESSAGES." JULIA hits a button.
GILLES (OFF -taped)
On n'a pas a parler. Il n'y a rien a
se dire. Point a la ligne. Ne
m'appele plus. Merci.
She presses a button and the operator's voice says "SAVED."
She's very tired and drunk. She goes into her bathroom, takes
out her toothbrush and, upon reaching for the toothpaste over
the sink, notices a drop of blood on the palm of her right hand.
She takes some of it up on her fingertip and smells it, puts it
to the tip of her tongue. She is disgusted and quickly washes
it down the sink. She examines her palm again and the skin is
clean and smooth. Instead of brushing her teeth, she throws down
the brush and scrubs her hand again. She goes to the kitchen. A
group of party-goers is loud and boistrous on the street. We
hear the sound of glass breaking below on the street. JULIA goes
to the fridge and drinks juice out of the container, then goes
to bed.
35 INT. DAY -- APARTMENT 35
JULIA's door bell rings. She gets out of bed.
She pushes the buzzer that releases the front door. Julia looks
down the stairs. Her eyes widen as she recognizes her visitor.
JULIA (to herself)
Oh no.
She looks over the bannister and watches as her FATHER climbs
the stairs. He is carrying a small antique wall cabinet (with
glass doors).
JULIA (CONT'D)
(fast and
diversionary, not
allowing him to get a
word in edgewise) )
Dad, hi, what is that? Here, put it
down. You didn't tell me you were
coming to town ... You came all this
way ... I was just leaving, I'm late
(looks at her watch)
Oh god, really late for rehearsal..
it's important... We're going to
Winnipeg soon, and we've got to get a
lot of practising in, and tonight
there's a performance at the cafe..
I really have to go.
She goes into the bathroom. Her FATHER talks to her from the
livingroom.
FATHER
Happy New Year
(pause, waiting for
her to answer, but
she doesn't say
anything)
This was your mother's. She would've
wanted you to have it, for your nice
things.
He notices the odd state of her apartment, the broken glass, the
spell book, etc. He sits on the couch, patiently waiting for
her to come out.
FATHER (CONT'D)
I wanted to tell you ...
He realizes that she can't hear him, he hears the sound of the
shower...
Pause. Her FATHER gets up and looks around. He goes to a
photograph of him, Julia, and her mother that is on a wall. He
looks down into his hands. He sits back down.
JULIA emerges from the bathroom, fully dressed. She rushes to
get her boots and coat on.
FATHER (CONT'D)
How are you?
JULIA
Oh fine... really fine...
FATHER
You lonely these days?
JULIA
No, not at all.... you shouldn't
worry... I'm seeing somebody new...
you'll meet him, umm.. a pilot...
(Not looking at him or
letting him speak)
I'm really sorry, I wish you'd called
first, but I really have to go...
Maybe we can meet later. I have a gig
tonight, but maybe when I get home
you'll still be up, we can catch
up...
He tries to say something.
JULIA (CONT'D)
Sorry, I really have to go.
She rushes over to him and gives him a kiss then rushes out the
door.
36 EXT. DAY -- STREET 36
JULIA shuts the door and rests against it. She looks at her
watch. She looks around, wondering where to go. She sees that
the glass of the store window below has been shattered. She
walks down the street.
37 EXT. DAY -- COMMERCIAL STREET 37
There are very few people on the street -- New Year's day, a
hung-over atmosphere. JULIA goes to one cafe, but it's closed.
She walks a little to another, and it too is closed. She walks
towards Mount Royal. She passes a magazine store and sees a copy
of HELIX DOUBLE in the window. She continues to the mountain.
38 EXT. DAY -- MOUNT ROYAL 38
There are a few families tobogganing on the mountain. JULIA
walks towards them. She stands watching, then walks to the top
of the slope. Sitting on the ground in front of her is a wide
piece of flat cardboard similar to others that children are
using as sleds. She sits on it and propels herself down the
slope. Her face remains straight and sad as the wind blows in
it. She gets up and leaves the cardboard at the bottom of the
hill. She walks away.
39 EXT. DAY -- COMMERCIAL STREET 39
JULIA walks past what appears to be the only cafe open, in which
its 2 or 3 patrons, solitary individuals with nowhere to go,
seem to have been sitting the whole night.
40 INT. DAY -- DINER 40
JULIA sits reading a newspaper while drinking coffee. The diner
is almost perfectly silent. No one talks, everyone is sluggish.
The atmosphere is heavy.
JULIA lifts her cup and sees a trickle of blood running down
from her palm to her wrist. She drops the cup. Everyone is the
diner looks up and toward her. She covers her hand with the wool
dickie, then takes a napkin and wipes up. Everyone looks back at
his own coffee cup. She stares at her palm. No more blood
appears. She is sweating. She gets up, pays.
As she's standing at the counter to pay, she sees a PASSING MAN
(resembling Gilles) through the window. She throws the money on
the counter and runs out.
41 EXT. DAY -- COMMERCIAL STREET 41
JULIA runs after the man. He stops suddenly. She bumps into
him. He turns around and she's surprised it's not Gilles.
JULIA
Sorry...
She's embarrassed. She turns around. She sees NAT, who is
sitting on a bench at the busstop, throwing a paper airplane.
She realizes he has witnessed this scene. He folds another paper
plane, then looks up at her. She is more embarrassed, so
pretends that she hasn't seen him, then heads down the street in
the opposite direction. NAT throws his plane in front of him.
42 INT. DAY -- BAR 42
JULIA, MICHAEL, and PHILIPPE are setting up to rehearse. JULIA
is at the microphone, doing a test, while MICHAEL adjusts the
soundboard.
MICHAEL
We've got to iron it out in the next
few days.
(to Julia) )
Excited?
JULIA
About playing in Winnipeg Manitoba?
Well, let's see
(into the microphone,
while the levels go
up and down) )
Winnipeg Manitoba, Winnipeg
Manitoba...Winnipeg Manitoba...
Winnipeg Manitoba...
Winnipeg Manitoba...I guess if I say
it often enough it could eventually
sound like New York New York, but the
symmetry's just a little wrong.
PHILIPPE
Don't be so cynical. You wanted to
go somewhere.
MICHAEL
That's the best I could do. I
thought you'd be happy... Let's
rehearse.
43 INT. DAY -- BAR 43
MICHAEL, PHILIPPE, and JULIA are rehearsing. It's a wild and
rhythmic song. JULIA is lost in her congas, oblivious. The music
reaches a climax, then the tune is over.
But JULIA continues to play, still stroking and stroking the
skin of her instrument.
Suddenly MICHAEL gets up from his keyboards and moves in front
of her. He watches for a second, but then grabs her hands
roughly, lifting them from the congas, stopping her.
JULIA opens her eyes to see him in front of her holding her
hand, which is dripping blood.
She jumps back, startled and terrified.
MICHAEL
My God, what's going on? What
happened?
PHILIPPE puts down his instrument and go over to her.
PHILIPPE
Is that blood?
MICHAEL
Julia. Did you hit a nail? Do you
need a doctor?
What have you done?
JULIA is stunned, starting to shake. She pulls her hands out of
MICHAEL's grasp.
JULIA
Um, I don't know, I'm fine. I mean,
just a minute. I'll be back in a
minute.
She goes into the washroom.
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