Malgre Tout by Anna Tchernakova and Tessa McWatt ©1996 AT and TM
Part 3
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44 INT. DAY -- BATHROOM 44
JULIA holds her hand over the sink, lets the blood drip from her
palm. The tap water washes away all traces of it.
She stares at her palm. There is no mark, no opening into her
flesh, no passageway to a vessel. She dries her hand, rubbing
it hard to restimulate any flow. Her skin stares back at her,
blank, but her hand is shaking. She goes back into the bar.
45 INT. DAY -- BAR 45
MICHAEL
Are you all right?
JULIA
I'm fine.
MICHAEL
Did you hit too hard or something?
Have we overdone it?
JULIA
Really, I'm fine. I think I'll just
go home though, if you don't mind.
I'll see you back here tonight.
They watch her go in silence.
46 EXT. DUSK -- STREET 46
JULIA is in the street approaching her home. She reaches her
house then sees a light on in the window of her apartment and
her father's silhouette.
JULIA
Damn...
She looks at her watch. She heads down the street.
EXT. DUSK -- COMMERCIAL STREET -- most stores are closed. A few
people are window shopping or just walking.
JULIA walks along the street, quickly. The SOUNDTRACK of voices
runs as she looks into store windows:
VOICES(SOME IN FRENCH, SOME IN
ENGLISH)
...I had my eyes checked last
week...
...none of his staff is going to be
cut...
...everything's up in the air...
...I don't feel like pasta, I'm hung
over...
...he didn't like the black chair...
...and if you put it all in GIC then
by this time next year...
...in a hundred years we won't have
necks, not in winter, anyway...
(etc., etc.)
From time to time JULIA checks her palm. It's clean. A Hindu
VENDOR on the street is selling artisan crafts from India. He is
the only merchant who seems to be working today. JULIA examines
some leather gloves. She tries them on. She feels the leather
against her palm and then pulls them off to check her skin. It's
clear.
JULIA (to the merchant)
Perfect.
She pays for them.
47 EXT. EVENING -- STREET 47
JULIA is walking. She sees her reflection in the windows; she
senses other people watching her; even the eyes of people in
posters appear to follow her. She turns and walks the other way.
48 EXT. EVENING -- MOUNT ROYAL 48
JULIA is walking up the steps to the summit.
49 EXT. NIGHT -- MOUNT ROYAL 49
JULIA is standing in the dark at the summit, looking out over
the whole city and its lights. We can see the ugly steel
construction of the cross behind her.
There is a GROUP OF TEENAGERS huddled together, about 50 meters
away.
One of them lights something and throws it in Julia's direction.
It goes off with a loud bang. JULIA is frightened. She heads
down the stairs toward the street.
50 EXT. NIGHT -- STREET 50
JULIA looks at her watch and then starts to run.
51 INT. NIGHT -- BAR - PERFORMANCE STAGE 51
JULIA arrives at the cafe, very late. It's crowded with people
waiting for her. It's very noisy, with people talking and taped
music in the background. MICHAEL is on stage, tuning and
pacing. She throws off her coat at the stage. She keeps her
gloves on.
MICHAEL stares at her. They tune up, then put down their
instruments.
MICHAEL
Everyone's waiting for you...
JULIA
Sorry...
JULIA goes to the bar. She orders a drink and swigs it back.
She walks through the cafe toward the stage.
MAN
You smell so good.
JULIA
From over there?
MAN
From the minute you walked in.
JULIA is coy. She brushes past the man. She continues to look
around the cafe.
PHILIPPE comes up to her.
PHILIPPE
Someone called for you earlier.
JULIA
Who?
PHILIPPE
Said he'd call back.
(playfully)
...sleeping alone's a luxury... don't
forget....
He leaves. JULIA becomes anxious.
She goes toward the bar to stand near the phone. She keeps
rubbing her gloved palm with the other hand's fingers.
MICHAEL comes over to her at the bar.
MICHAEL
Your hand OK? We've gotta start soon.
JULIA
Perfectly fine.
MICHAEL
You should take the weekend off. We
could do something together, if you
want....
JULIA
(cutting him off) )
Oh, no, I've got too much to do
before we go away...
MICHAEL
Wish you'd let me look after you.
JULIA looks at her feet, then looks up, (the telephone rings
behind her) and smiles:
JULIA
Not a job fit for man nor beast.
MICHAEL appears fed up. He goes toward the stage.
52 INT. NIGHT -- BAR 52
JULIA is on the phone at the bar.
JULIA
Hello... hello... Oh hi ... Dad.
(disappointed)
Pardon?
(she's yelling above
the noise). )
What? What? I can't hear you. I'm
going to be late, we're playing
tonight. What? Dad, speak up? I
can't hear you. I'll see you later,
ok? We can talk then.
She hangs up, slightly guilty.
53 INT. NIGHT -- STAGE 53
The ensemble goes on.
The music is mysterious, worldly, as well as culturally and
historically mixed. JULIA and the others smile to one another
during the piece. She closes her eyes and plays her best. She
looks at her gloves. At her wrist, she sees a trickle appearing
at the base of both gloves, flowing up her arm. She stops
momentarily, wipes it into her leather pants and continues. She
starts to become nervous and makes a few errors. MICHAEL and
PHILIPPE look at each other. JULIA plays harder, louder,
compensating for her error, but makes more. Soon there is more
blood; it drips down her wrists and onto the instrument. She
tries to wipe it off so no one will see, but she has to stop.
She goes off stage.
MICHAEL and PHILIPPE try to cover up, with PHILIPPE taking over
the solo with a recorder.
JULIA mimes something to MICHAEL. She holds her stomach
indicating illness.
MICHAEL and PHILIPPE continue to play.
JULIA grabs her parka and mukluks and goes into the cafe kitchen
and outside via the back door into the snow.
54 EXT. NIGHT -- STREET 54
JULIA walks down the street, her hands bleeding beneath her
gloves. She begins to cry.
55 INT. NIGHT -- DRUGSTORE 55
In the drugstore, JULIA searches for something.
We see NAT in one of the aisles. He is watching Julia.
JULIA finds bandages and picks up several rolls.
She goes toward the cashier, but stops short, surprised to see
NAT paying the cashier. He is buying bandages.
She hides behind the shelves until he leaves.
She goes to the cashier and pays.
56 EXT. NIGHT -- STREET 56
The wind has picked up, blowing the snow. JULIA takes out the
bandages and tries to put them on. She fumbles. She looks for
an alley.
She stops every few steps to adjust something in her boots.
Finally, she pulls her foot out of her boot. Blood drips from
the tip of her sock into the ice encrusted on the sidewalk and
turns it crimson. She becomes distraught. She puts her boot back
on.
She goes into the nearest cafe.
57 INT. NIGHT -- CAFE 57
JULIA walks quickly to the washroom at the back.
58 INT. NIGHT -- WASHROOM 58
JULIA holds on to the sink a moment and stares at her face in
the mirror. Tears drip down her cheek.
She unwraps the bandages and starts to swathe her hands.
Then, she takes off her boots and sees the puddle of blood that
has seeped from the balls of her feet.
She hops to the cubicle and washes her feet in the toilet.
She takes paper towel from the dispenser and wraps her feet in
it. She doesn't have enough bandage to cover her feet, so she
empties the two garbage containers and releases the plastic bags
from around their rims. She wraps her feet in them, and then
puts them back into her boots.
She leaves the washroom.
59 INT. NIGHT -- CAFE 59
JULIA walks toward the door.
WAITRESS
Coffee or pee... costs the same.
JULIA turns around and looks at the waitress. The WAITRESS
gestures toward the cashier. JULIA sits down.
JULIA
I'll have a coffee, please.
A couple of hours later...
The WAITRESS is putting chairs up on the tables, closing up.
JULIA is the last customer.
She gets up, puts on her coat. She puts some change on the
table and leaves.
60 EXT. NIGHT -- STREET 60
JULIA wanders down the street. She heads back to the bar.
61 EXT. NIGHT -- STREET IN FRONT OF BAR 61
JULIA waits at the door. MICHAEL leaves the bar and sees her.
She runs to him.
MICHAEL
What are you doing here?
JULIA
(composing herself,
trying to hide her
state) )
I'm really sorry about before, I was
feeling really sick. How'd it go?
MICHAEL
(sarcastically)
... what do'ya mean how'd it go? The
owner wasn't too impressed...
he booked a trio and got a duo... Are
you serious about playing? Or was
that phone call more important?
JULIA
I was going home, but my father's
there. I didn't want to wake him up.
MICHAEL
It's your place.
JULIA
I can't deal with him right now.
He's so fragile, everytime he visits
me; I start feeling responsible...
MICHAEL
For what?
JULIA
...everything...
MICHAEL
Oh, come on...
MICHAEL starts to walk away. JULIA tries to stop him.
JULIA
(a little desperate) )
No, please, wait. We could talk...
Silence.
JULIA (CONT'D)
Let's go for a coffee.
MICHAEL
I'm tired Julia...
JULIA
I'll walk with you to your place.
MICHAEL
For what?
JULIA
Coffee...
MICHAEL
Now? It's 3 in the morning.
JULIA
Why not?
MICHAEL
Are you staying over?
JULIA
Sure...
MICHAEL
(not playing her game)
Are you going to sleep with me?
JULIA
No.
MICHAEL
I'll walk you home.
MICHAEL starts to walk away, but JULIA stands, looking
completely lost. MICHAEL guides her by the arm.
MICHAEL (CONT'D)
Come on, we're almost there.
62 INT. NIGHT -- APARTMENT HALLWAY 62
JULIA and MICHAEL enter.
JULIA
Come up for a second ... please...
They enter her apartment.
63 INT. NIGHT -- APARTMENT 63
JULIA puts her keys down and walks around the apartment,
tiptoeing. MICHAEL waits at the door.
JULIA
He's gone.
MICHAEL turns to leave. JULIA stops him.
JULIA (CONT'D)
He was here, really...
MICHAEL
(turning to leave)
Get some sleep Jules.
JULIA
Stay... want some tea?
MICHAEL
I'll have a glass of water...
She takes off her coat, but leaves her gloves and boots on over
her bandaged hands and feet.
MICHAEL (CONT'D)
You o.k?
(he points)...)
JULIA
Fine, just cold. It's getting to me.
She goes into the kitchen.
MICHAEL walks around the apartment examining it. He picks up
the wool dickie. He sees the blood on it. He puts it down, not
saying anything.
He sees the photo of GILLES on her bulletin board. He takes it
and brings it to the kitchen.
64 INT. NIGHT -- KITCHEN 64
JULIA is making tea, still wearing her
gloves.
MICHAEL
(jealously) )
So, what does he tell his wife when
he's here?
JULIA grabs the photo from him.
MICHAEL opens her refrigerator door. The fridge is empty,
except for a bottle of unopened champagne, two chilled glasses,
as well as uneaten Christmas cake. He notices the broken glass
on the counter. He looks at her suspiciously, but her back is to
him.
MICHAEL (CONT'D)
You should be eating better. If you
don't eat you can't play.
JULIA
(not acknowledging his
warning)
I hope the hotel's going to be good.
Is it close to where we play?
MICHAEL
(fed up)
I really have to get some sleep.
He leaves. JULIA follows him to the door, but he's gone in a
hurry. She picks up the wool dickie and puts it on around her
neck.
65 INT. NIGHT -- BEDROOM 65
JULIA is undoing the bandages. She checks. She is clean, so she
throws the bandages away. She is about to climb into her bed.
She notices that the light is flashing on her telephone. She
goes in to listen to her messages. The automated operator says:
"YOU HAVE ONE NEW MESSAGE."
She gets excited for a moment, then listens:
VOICE OF FATHER (OFF -- taped)
As I said when I called the cafe, I
was only had a few hours. I'm on my
way back to Ottawa, and, like I tried
to tell you, going to Jamaica
tomorrow. I don't know where you
are. Hope nothing's wrong. I don't
know how long I'll be away. Nana is
dying. All around me are dying. The
snow is like frozen tears. I will
call you from the seaside.
She presses the pound key and the automated voice says
"Skipping."
66 INT. MORNING -- BEDROOM 66
JULIA throws her covers off and sees, to her horror, that at the
foot of the bed the sheets are soaked in blood. She gets up.
67 INT. MORNING -- BATHROOM 67
JULIA washes her feet, ties them with towels, and replaces the
plastic bags. Blood is seeping through the bandages around her
hands. She strips them, cleans her hands, weeping tears into
the dripping blood. She tries to stop the bleeding by holding
pressure on one palm. She releases it, but blood continues.
She tries again. It works. She re-bandages her hands.
68 INT. MORNING -- LIVING ROOM 68
She dials the telephone.
JULIA
Michael...me.
(pause) )
I.. I'm not feeling well again. I
don't know. I think I'll go to the
doctor. No, don't, it's ok. I won't
be at rehearsal. I'll call you
tonight.... Of course...of course I'm
going to Winnipeg. I'll be fine. I'll
let you know.
69 INT. DAY -- CLSC CLINIC 69
JULIA sits waiting, among many other patients, to see a doctor.
The clinic is overcrowded, peeling paint on the walls, mostly
immigrants in the waiting room, holding children on their knees.
She waits.
70 LATER 70
NURSE
Julia Williams....
JULIA gets up.
NURSE (CONT'D)
... this way. The doctor will be
with you in a moment.
71 INT. DAY -- DOCTOR'S OFFICE 71
JULIA appears very nervous. The DOCTOR knocks and enters. He
is holding her chart. He is an old man, with a thick European
accent. He has thick coke-bottle glasses.
He looks a her chart with difficulty, barely able to read it.
Still looking at it, not at her, he starts talking.
DOCTOR
Damn cold out there today... Been a
while since you've been here, is that
right?
(he doesn't wait for
her answer)
...just a few visits, let's see...
pap smear, diaphram, a few yeast
infections... that happens at your
age... What can we do for you today?
(he is still not
looking at her)
JULIA hesitates.
She goes to hold out her hand, but looks at him and pulls it
back.
DOCTOR (CONT'D)
(looking at her)
Come now, don't be shy... I'm a
doctor.
She looks around her.
JULIA
I've been bleeding... here...
She points to her palms.
DOCTOR
Mmmm, well let's see...
(takes her palm)
...I don't see anything.
Pause.
JULIA
Not now, but.. before... a lot...
DOCTOR
Mmmm....Let's examine you. Why don't
you undress... just your bottom half,
and get up on the table... put this
over you...
(he hands her a paper
gown)
...and I'll be back in with the
nurse...
JULIA hesitates, but then takes off her boots, pants, panties,
then her sweater; she leaves on her bra, then puts her boots
back on. She waits under the paper blanket, shivering.
The doctor comes back in with the nurse.
NURSE
Now just put your feet in these
stirrups and ....
She notices Julia's boots.
JULIA
I'd like to keep them on, please.
NURSE
... and move your bottom to the edge
of the table.... that's it.
JULIA
..But..
NURSE
(interrupting)
Now relax your knees, let them fall
away from your body... good.
The DOCTOR approaches her and starts the internal examination.
JULIA
But not there...
JULIA closes her eyes. She is becoming furious, biting her
tongue and the rage behind it.
DOCTOR
There's is something I'm seeing a lot
of recently... all women your age.
Endometriosis, probably. It's more
prevalent. You're not a young girl
you know, none of them I've seen like
this have been.
Tissue starts to tear away from the
uterus, lodging on to other organs.
But uterine tissue is uterine tissue,
your brain tells it to bleed and it
bleeds, every month, just like it's
supposed to. Of course, there are
things you can do. Surgery. Or
there's hormone therapy, something
that's a kind of psuedomenopause --
don't let the term scare you, it's
something of a misnomer, since all it
eliminates are the peaks in the
hormonal cycle, not the cycle itself.
You probably have plenty of cycles
left. Infertility is possible but
not definite, but the therapy blocks
and lowers natural hormone levels in
the body and it atrophies the
endometrial tissue that has lodged on
the other organs.
JULIA remains silent, eyes closed. She hides her hands under
the paper blanket.
She opens her eyes and turns her head.
She stares at the eyechart on the wall and begins to search for
the letters that spell out WINNIPEG. She seeks out each one
methodically.
72 INT. DAY -- DOCTOR'S OFFICE 72
The doctor comes back and sits at the desk, still not looking at
her. He is writing in his file about what he's diagnosed. JULIA
is finished dressing.
DOCTOR
A few lumpy areas, fibroids, and a
retroverted uterus, nothing too
unusual...
JULIA
It's not the blood there...it's here
(pointing to her palms)
The DOCTOR looks at her, thinking and pausing.
DOCTOR
Have you been stressed lately?
JULIA doesn't answer.
DOCTOR (CONT'D)
It happens, this time of year... we
imagine all sorts of things. Maybe
you should see a specialist...
someone to talk to...
(he writes)
Give this name to the receptionist on
the way out and she'll book the
appointment for you. Then we'll do a
followup... OK, dear?
JULIA stares at him, disbelieving. She gets up to leave.
73 INT. DAY -- CLSC RECEPTION 73
JULIA runs past the reception desk and crumples up the
appointment slip. She throws it on the desk before leaving in
anger.
74 EXT. DAY -- COMMERCIAL STREET 74
JULIA is walking down the street with her chin tucked into her
collar, looking down. She hears her name and looks up to see
SOPHIE and the MAN she met at her party.
SOPHIE
Hi... How's it going.
JULIA
Fine.
SOPHIE
Did you meet Jean?
JULIA
No... hello.
JEAN shakes her hand, but JULIA is reluctant, not interested in
being there at that moment. SOPHIE smiles and grins, happily in
love. She notices Julia's mood.
SOPHIE
You look a little tired...
JULIA
I'm fine...
SOPHIE
(uncomfortable, not
having else to say
and being in a
completely different
state of mind from
Julia)
Well, I guess I'll talk to you soon.
Give me a call...
JULIA
Sure...
They kiss each other on the cheeks and take leave of one
another.
75 EXT. DAY -- IN FRONT OF JULIA'S APARTMENT 75
JULIA is arriving at her building. She stops, crosses the
street.
She examines the new pile of debris from the recreation centre.
In the pile she sees a large cracked sculpture of the crucified
Jesus. The cross is missing, has been chipped away on both
sides. He looks just slouched over, head tilted to the side in
resignation, the moment of "father forgive them for they know
not what they do." She drags it out of the pile of other
garbage and, with difficulty, takes it upstairs to her
apartment.
76 INT. DAY -- APARTMENT 76
JULIA brushes the snow off the sculpture and stands it up
against the wall. She takes off her coat and boots. Then she
drags Jesus to her bedroom.
77 INT. DAY -- BEDROOM 77
JULIA stands in front of her full-length mirror. She holds the
sculpture upright with one hand, while with the other and her
teeth, she takes off the bandages, takes her feet out of the
bags, and undresses to her underpants. She stands examining her
body in the mirror, turning to the side, posing, comparing her
body to that of the statue. She stares for several minutes.
Slowly, blood appears on her palms, on the tops of her feet.
She bleeds in exactly the same places as the statue has bled
(except side). In shock, she drops the statue and a part of it
chips off at the shoulder. She is trembling while she bandages
herself again, rebags her feet.
78 INT. DAY -- LIVINGROOM 78
JULIA drags the sculpture to a corner of her living room where
it is almost hidden.
She dials the telephone.
MICHAEL'S VOICE (OFF - taped)
Hi this is Michael. Please leave a
message and I'll call you right back.
(beep)
She hangs up.
She dials another number.
PHILIPPE'S VOICE (OFF - taped)
Nobody home; aren't you happy you
only have to talk to a machine today?
(beep)
She hangs up.
She gets dressed, forgetting her gloves, and goes out.
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