"CHANGE OF HEART"
Written by
Leonard Kastle
“CHANGE OF HEART"
Written by
Leonard Kastle
"CHANGE OF HEART"
FADE IN:
EXT/INT. FRANCE - COUNTRY HOUSE - DAY
Early morning in late autumn. A stag stands at a spring,
immobile as a statue. His head bent, he seems to be admiring
his antlers reflected in the water below him. Then, all at
once, lifting his head he bounds off into the forest. A gentle
Slope of lawn rises along a pebbled driveway at the crest of
which sits an elegant villa of white stucco. VALERIE TALMA
opens the door leading out from the studio wing to the patio.
She is a beautiful young woman. She is followed by an old
gardener, EMILE.
VALERIE
(pointing to the
potted plants on
the patio)
This one... yes, and this one
too. They'll go on the south
window... These three. Yes,
we'll take them all in... all
three. In the west. They'll
get the afternoon sun.
(she points and
points)
Yes, Emile, this one here. I
can't bear leaving it out here
to die. Put it on top of the
bookcase. I'll transplant the
hibiscus while you bring the
rest in.
Valerie, kneeling, takes the green gardener's gloves and cere-
moniously puts them on. With the trowel, she breaks the moldy
clay pot and removes the hibiscus, careful to keep the root-
filled ball of earth intact. She sets the plant into the loam
of the wood tub and fills it with more earth, gently and firmly
tamping it down and around the transplanted shrub. Then she
waters it from the green plastic watering can. She sits back
a moment admiringly. The wind is blowing spirals of dead
leaves around the remaining plants of the broken-up arrange-
ments. The sun has gone behind a cloud; the wind has picked
up; and suddenly she looks a little cold. She kneels down and
picks up the tub, losing her righthand glove in the process.
She wedges the tub against the closed door, holding it in place
with her knee in order to free her ungloved right hand.
(CONTINUED)
CONTINUED:
She manages to get the door open without dropping the heavy
tub. Then, grabbing it again with both hands, she maneuvers
it and herself through the door. She staggers into the large
studio room. The plants Emile has brought in stand in the
middle of the room. She lets the tub fall and straightens up
with a cry. She holds her right hand up to see the cause of
her pain. A large splinter of wood from the tub is lodged in
her right-hand index finger.
INT. CAR - DAY
Later. Valerie, dressed in a handsome beige knitted suit
(skirt and fitted jacket), is seated at the wheel of her red
Peugeot station wagon. Emile stands by the window, bending
to her level.
EMILE
Not before Christmas?
VALERIE
I don't think I'll be able to
manage it, Emile.
(beat)
Don't forget to water the
plants in the studio.
EMILE
Of course. And I can always
reach you at the apartment.
VALERIE
Or at the hospital, if necessary.
Goodbye, Emile. Take care of
everything as you always do.
(she starts the
engine)
I'll telephone in a week or so.
EMILE
Have a safe trip to Paris, Dr.
Talma.
Her hand waves to him from the driver's window. She begins to
pull out of the driveway. There is a frantic HONKING and she
lunges for the brake. The wagon stops with a jolt, narrowly
missing the Mercedes sports car streaking past on the road
from the right. She lets out her breath, closing her eyes a
moment. Then, checking both the mirror and the right-hand side
of the main road, she puts the wagon back into gear.
INT. CAR - PARIS
Valerie drives in the traffic. Her car RADIO is turned on.
A final chord of a symphony resounds. An announcer's voice:
ANNOUNCER (V.O.)
And nOw the waltz movement
from the "Symphonie Fantastique"
of Hector Berlioz.
VALERIE
(to herself,
Smiling)
Hector Berlioz.
She savors the elegance of the syllables. The lilting MUSIC
begins. She flexes her right index finger resting on the
wheel and it makes her grimace. She looks at it. The splinter
has begun to fester.
CUT TOs:
INT. DE BERTHIER'S - DAY
An enormous ornate bedroom in a state of absolute pandemonium.
The bedlam is increased by two yelping over-excited toy Pekinese
dogs who jump over everything and everyone. ACHILLE DE BERTHIER
half-reclines in his massive baroque bed, propped up by pillows.
Attached to both his wrists are tubes which run off the bed into
a machine. He is undergoing kidney dialysis under the watchful
eyes of an old nurse who is at this very moment carefully spray-
ing some liquid solution into the bloodbath opening of the
dialysis machine. De Berthier, about 50 years old, is tall,
thin, elegantly over-refined. His left arm is a little palsied,
Slightly paralysed by a recent stroke. Morning papers are
strewn all over the bed, on the other side of which sits his
mousy secretary, ADELE, holding a pencil and dictation pad. A
young man dressed in a dark business suit stands behind her.
Mme. DIANE DE BERTHIER, tall, slim, fashionable, is seated in a
corner of the large bedroom talking animatedly into a gold-
plated telephone.
ACHILLE
(waving a newspaper)
No more on him! Do you
understand me?
YOUNG MAN
Yes. Yes, indeed, Monsieur
De Berthier. No more on him.
No more on him.
4.
ACHILLE
Tell them I don't want to see
anything like this again in
my newspaper.
He hurls it to the floor. The nurse quickly grabs his good arm
to prevent the tube from coming out of the wrist. The young
man gulps, queasy, about to faint fromthe whole experience.
YOUNG MAN
(trying to look at
his boss)
Yea, “srr.
ACHILLE
We're through giving him any
more publicity. Do you
understand? And go now.
YOUNG MAN
Yes sir.
He runs out. The two dogs are scampering over the papers on
De Berthier's bed.
ACHILLE
(calling toward
the corner)
Diane! Call Fou and Poo before
they urinate all over the
papers again. Adele, push them
off. I'm helpless here.
The secretary, afraid of the dogs, waves at them with the note
pad. In the corner, Diane calls them:
DIANE
Come, darlings. Come here
with maman!
The dogs jump off the bed, running over to the corner, fighting
with each other. They both want to sit on maman's lap.
ACHILLE
Adele, call my uncle, the
Minister of Justice, and tell
him I'm going to the hospital
tomorrow. No, never mind. I
think I should call him myself
if she ever gets off the phone.
ADELE
(quickly getting
up)
You want me in the morning?
ACHILLE
Yes, you'll come to the
hospital with us. I may have
some letters. Patrice will
pick you up at eight. Send
him up in a moment. Madame
De Berthier wants to see him.
Adele leaves.
DIANE
I've got to get off now.
(beat)
I'll send Patrice to fetch
you around nine.
She hangs up the phone and, pushing Fou off her
DIANE
(continuing)
Nicky and Georges are coming
with us to the hospital
tomorrow morning.
ACHILLE
Good. We'll have a real
entourage.
The chauffeur, PATRICE, appears in the doorway.
PATRICE
You wanted to see me, Madame
De Berthier?
DIANE
Yes, Patrice, I want you to
take Maria and Inez to Saint
Moritz tomorrow after you
leave us at the hospital.
(beat)
Stay overnight but you'll
have to leave early the next
morning. I'll need you here.
PATRICE
Of course, Madame.
lap,
gets up.
DIANE
Close the door behind you.
SOUND of door closing as Diane comes over to the bed and sits
on the side opposite the machine. Diane puts her hand on
Achille's knee, caressingly.
ACHILLE
You're opening the chateau
already? Isn't it a little
early?
DIANE
Darling, you may be skiing
again this winter.
ACHILLE
I don't know.
DIANE
What do you mean? There's
nothing wrong with your legs,
thank God, and once you get
the kidney, you'll be good as
new.
ACHILLE
I hope so.
DIANE
Of course you will. And no
more worrying about hemorrhages
and strokes. That neurologist
at the hospital, Dr. Talma, can
Give you therapy for your arm.
They tell me she's excellent.
ACHILLE
Exactly what did Dr. Laval say
on the phone?
DIANE
The kid was admitted early
this morning. He's sinking
fast, poor thing!
ACHILLE
And the mother?
DIANE
I suppose she's there with
him.
ACHILLE
I hope she can be kept out of
it. She's not too smart and
she's liable to say the wrong
thing.
DIANE
What can she say? There's
nothing down on paper. It's
a gentlemen's agreement with
her son. He's dying of
cardiac failure. He was
already at the hospital once
before -- diagnosed untreatable.
The story is that you just
happen to be there because
Laval is worried. He wants
to check if your bad kidney
could bring on another brain
hemorrhage and stroke. The
boy's dying -- the heart is
inoperable. So at the last
minute he hears about you
through Laval and bequeaths
you his useless kidney.
ACHILLE
Useless to him, but not to me.
Does he know how carefully
Nicky and Georges searched
for such a perfect blood and
tissue match?
DIANE
What difference? What he
knows is that after his death,
out of eternal gratitude we
Clasp his mother to our
familial bosom. That's the
least we can do.
ACHILLE
The long line of De Berthier --
from Louis Alexandre, Prince
of Wagram down to uncle and
me -- and our perfect match
is a poor kid from Montmartre!
DIANE
Yes. And if the kid hurries
up with it you might even be
able to ski by January.
ACHILLE
You shouldn't talk that way
in front of Louise.
DIANE
Louise doesn't hear a thing,
does she.
Louise smiles and nods her head. Achille, relaxed, lies back
enjoying the pleasure of blood purification.
ACHILLE
I've actually grown rather
fond of the contraption.
DIANE
I'll be happy never to see it
again! After you've got your
new kidney, we'll put it away
somewhere as a memento.
ACHILLE
No, we'll donate it to the
hospital.
DIANE
What a wonderful idea!
ACHILLE
That will make a lovely tax
deduction.
INT. CHURCH - DAY
Cur. 2s
MADAME DURAS, a woman in her early 50's, is kneeling at the end
of a pew on the side aisle of a gloomy crepuscular Catholic
church. She rises from her knees and lights a candle at a many-
tiered stand at the base of a statue in one of the grotto-like
Chapels.
MME. DURAS
Saint Sebastien, I called him
after you. And God made hima
martyr. Now, pray for my son's
immortal soul and intercede for
him in Heaven with the blessed
mother and all the angels and
Saints.
She looks up at the realistically painted statue of Saint Seb-
astien's chest pierced by arrows with large beads of scarlet
blood.
INT. DR. CHAPELLE'S OFFICE —- DAY
DR. MARC CHAPELLE and Valerie are in Marc's office. The wall
Clock shows early afternoon. They both wear doctors' white
jackets. Marc is an attractive, virile man of about 40. He
holds Valerie's index finger, probing at the splinter with a
needle-like instrument.
MARC
The only time I seem to get
to hold your hand is to take
out a splinter.
He pries at the skin.
VALERIE
(pulling back her
finger)
Ouch! That hurts!
MARC
(taking back the
finger)
I'm paying you back for not
having invited me for the
weekend.
VALERIE
Sadist!
MARC
No, masochist. How did you
get such a big piece of wood
in such a little finger?
VALERIE
Never mind. Just get it out
if you can find it in all that
blood.
MARC
(wiping the finger
with a tissue)
Don't tell me you're afraid of
a little blood?
VALERIE
I'm a neurologist, not a
hematologist; and judging by
this operation so far, I'd say
you're an excellent cardiologist.
MARC
Some patience, Dr. Talma.
Some patience.
VALERIE
That was never my strong suit.
MARC
It wasn't mine, either, until
I learned I needed it dealing
with you.
(he pries and
pokes some more)
Will you have dinner with me
tonight?
VALERIE
If you ever get this damned
splinter out so I can make my
rounds.
MARC
Perhaps we should leave it in
and let nature take its course.
It will work its way out
eventually. Your body will
reject it the way the rest of
you has rejected me.
He resumes the operation.
VALERIE
Ouch!
MARC
I only help nature along. I
don't want to play God.
VALERIE
Who does?
He holds the tweezer up with the splinter.
MARC
There, I've got it all out.
Do you want to keep it as a
souvenir of what happens to
goddesses?
VALERIE
(laughing)
They get splinters?
MARC
(taking her finger
once again)
Yes. And they can also get
infections.
10.
He paints the area with brown iodine.
INT. HOSPITAL CORRIDOR - DAY
li.
Valerie and Marc talk together through the hospital corridor.
BELL. VOICE over intercom system:
She laughs.
INTERCOM (V.O.)
Will Drs. Talma and Chapelle
please come to the director's
office.
MARC
(taking her splinter-
free hand in his)
You see. They even page us
together.
INT. DIRECTOR'S OFFICE - DAY
The office of the hospital director.
together on a large leather couch.
dignified man of 60,
DIRECTOR
I value both of you as human
beings and I have confidence
in you. In the two of you.
VALERIE
Thank you.
MARC
You can rely on us.
DIRECTOR
I need your help. First of
all, Achille De Berthier is
checking in tomorrow morning.
MARC
Oh -- I can see where your
problems are beginning.
VALERIE
Not another subarachnoid
hemorrhage?
DIRECTOR
No, he hasn't had another stroke.
(MORE)
Marc and Valerie sit
The DIRECTOR,
Sits in a chair facing them.
a formal,
DIRECTOR (cont'd)
The "story" is that Dr. Laval
wants to run more tests on the
bad kidney that had to do with
the stroke he had in the
Spring.
(to Marc)
You probably don't remember a
young man, a cardiac patient
who was sent here for tests a
year ago this summer.
He rises and goes to his desk.
He sits down,
DIRECTOR
(continuing)
But according to a copy of his
file you were one of the
consultants.
finding an open folder.
DIRECTOR
(continuing)
"Duras" is the name. "Sebastien
Duras -- "
(laying the folder
back down)
Hopeless.
MARC
Yes, I do remember. A charming
young fellow who listened to
Classical music all day long.
Heartbreaking. Absolutely
inoperable, only a matter of
time.
DIRECTOR
His time has come. They brought
him in early this morning.
There's not much that can be
done for him besides trying
to keep him comfortable and
make it easier for him to die.
But he had only been here one
hour when Dr. Laval notified
me he was admitting Achille De
Berthier first thing tomorrow
morning for an indefinite stay.
VALERIE
Which you call the "story."
Les
——
DIRECTOR
Yes.
(turning more
toward her)
You remember when De Berthier
had the stroke this spring?
VALERIE
Yes, of course. I was a
consultant on the case because
of the palsy in his arm.
DIRECTOR
Dr. Laval wanted to do a kidney
transplant then, but when it
was found that De Berthier had
a rather peculiar blood and
tissue type, it became quite
impossible to find a close
match in a kidney donor for
him. And of course he wanted
only the best. And why not,
he can afford the best of
everything.
MARC
I think I'm already beginning
to see the light.
DIRECTOR
SO we sent De Berthier home
and he ended up buying his
own dialysis machine until a
more hopeful match could be
found. Shortly after, two men
appeared here in my office
asking for permission to go
through the hospital records
in the file rooms. They said
they were researchers preparing
a medical survey for a
newspaper article -- a De
Berthier paper --
MARC
Wouldn't you know.
DIRECTOR
-- and also that Dr. Laval had
suggested it would be all right
for them to go through our
patients' records.
(MORE)
- P
DIRECTOR (cont'd)
They didn't look like reporters
to me. I had the impression
they either worked for De Berthier
Or were friends, or perhaps both.
They spent the day downstairs in
the file room. I had no reason
to refuse. Dr. Laval is a very
important surgeon -- a fine
Surgeon with very important
connections, one of the most
important being Achille De
Berthier. Naturally, after
they cleared out I heard nothing
further about a newspaper
article. But only a few weeks
later Sebastien Duras was back
here again but now he was Laval's
patient, and this time they ran
tests on his kidneys. They also
ran a blood and tissue test to
be sure that the match with De
Berthier was as perfect as they
Surmised from the file.
MARC
Where the hell was I?
DIRECTOR
I don't know. Perhaps you were
On vacation. This is a big
hospital. Anyway, you weren't
consulted.
MARC
(to Valerie)
Then this morning the kid is
brought in to die and one hour
later, the buyer reserves a
room in the store so he'll be
on the spot for delivery to
take place.
(turning to the
director)
But who gets the money after
the kid dies?
DIRECTOR
He has a mother. They're very
poor. Obviously he's doing it
for her. He's an adult and
from his point of view he has
nothing to lose.
(MORE)
14.
DIRECTOR (cont'd)
In fact, it’s true. He hasn't.
VALERIE
But it's against the law!
Donors and recipients aren't
even supposed to know one
another. Buying someone's
kidney -- and that's what this
comes down to -- that's illegal.
DIRECTOR
Well, for some people things
are less illegal than for
others. It's a question of
whether or not you are able
to get away with it.
MARC
That's why they keep telling
the meek that they shall
inherit the earth. So in the
meantime the meek will let
them keep on owning it and
doing what they please.
VALERIE
Marxist!
MARC
Not at all. When the revolution
comes, it's people like me who
end up in jail. The De Berthiers
keep on owning and doing what
they please, no matter what the
System. They simply change
their names and their "story"
once again.
VALERIE
(to the director)
But you can't allow Laval to
continue to treat the boy!
MARC
Yes, I agree. The boy must
have his own doctors to protect
his interests and keep him
alive as long as possible.
VALERIE
(ardently)
And that is the law! Laval
cannot sign the death certificate!
(MORE)
15.
1
VALERIE (cont'd)
(turning to Marc)
And it's a good law because
someone as ambitious as Laval
might decide his patient was
important enough to murder for!
MARC
Okay. We accept.
DIRECTOR
You accept? What do you accept?
MARC
We'll protect the boy's rights.
No one's going to grab that
kidney until it's certain
Sebastien has no more use for
it! Do you agree Dr. Talma?
VALERIE
Yes, I agree Dr. Chapelle.
DIRECTOR
Well, since you both want to
take the case, I won't stand
in your way... Thanks.
MARC
(getting up)
So come.
Valerie too, stands.
MARC
(continuing)
Let's not waste time. We'll
take a look at our patient.
INT. HOSPITAL ROOM - DAY
Valerie and Marc at the door of Sebastien Duras' room (1117).
From inside the sound of MUSIC -- the second song of Berlioz's
"Nuits dqd'Eté." Valerie looks at Marc and smiles. He Slowly
opens the door and nods to the nurse inside. SEBASTIEN DURAS
is lying in his bed. His eyes are Closed, but he is not asleep.
His lips move along with the words of the Singer and his face
is relaxed in the pleasure of the music. It is the face of a
dying young man -- no more than 20, and it is a beautiful face.
He is attached to an electrocardiagram machine and he is being
fed intravenously. Marc looks at the machine.
(CONTINUED)
CONTINUED:
He looks up at Valerie with a grave expression.
opens his eyes.
He sees Valerie and he smiles.
SEBASTIEN
(whispering)
Hector Berlioz.
VALERIE
(smiling)
Hector Berlioz... So you like
music? So do I. Is he one of
your favorites?
SEBASTIEN
Yes, he's my favorite.
VALERIE
You know, his father was a fine
aGoctor. He, too, studied
medicine.
SEBASTIEN
But he loathed it. And I'm
not so sure he was overly fond
of doctors either.
(he smiles)
I hope you're not a doctor.
VALERIE
What do I look like with this
white coat I'm wearing?
SEBASTIEN
Like a beautiful lady in
doctor's disguise. Are you
going to a costume party,
perhaps?
VALERIE
I'm afraid I am a doctor.
Dr.
(in a slightly
formal tone as she
continues Sebastien's
game)
Talma is my name. I studied
medicine in Grenoble. That's in
the Dauphiné. Wasn't your
Berlioz born at Cdte Saint-André,
not far from there?
SEBASTIEN
Yes, he was.
Sebastien
LF te
aw
He closes his
VALERIE
It's so beautiful there in the
Dauphiné. No wonder he wrote
such romantic music. Some day
you must go there and see it
for yourself.
eyes.
SEBASTIEN
(bitterly)
Yes, some day I must go there
and see it for myself.
She has a look of pain on her face.
VALERIE
I'm sorry.
Marc comes from the machine.
Sebastien opens his eyes and sees Marc.
MARC
What's the matter?
SEBASTIEN
Don't be sorry, Dr. Talma. It's
not your fault. He wrote so
much music you'd have to be a
fanatic like me to recognize
them all.
He smiles up at her, complicity in his look.
SEBASTIEN
(continuing)
This one's "Nuits d'Eté."
VALERIE
(taking it up)
Well, I know the "Symphonie
Fantastique." As a matter of
fact I was listening to it on
my car radio, driving in from
the country this morning.
MARC
What about the "Damnation of
Faust" or "Roméo and Juliette?"
You see I know something too!
VALERIE
This is Dr. Chapelle.
Then,
to Valerie:
18.
Lv.
SEBASTIEN
(to Marc)
How do you do?
VALERIE
Dr. Chapelle and I are going
to take care of you, Sebastien.
SEBASTIEN
Take care of me? I'm Dr. Laval's
patient.
VALERIE
No longer, Sebastien. You're
Our patient now. We'll look
after you.
SEBASTIEN
Take care of those who still
need you.
(beat)
I'll just listen to the music,
though it's the "Reguiem" I
should be listening to.
Marc, with the file, takes the nurse into the hall, leaving
Valerie alone with Sebastien.
VALERIE
But I love the music. Can't
I stay a little while and
listen with you?
SEBASTIEN
You must have lied to me, then.
VALERIE
What do you mean?
SEBASTIEN
If you don't know these songs,
how ado you know that here comes
the most beautiful of the lot?
What's your first name?
VALERIE
(sitting on the bed)
Valerie.
SEBASTIEN
"Valerie." That's a beautiful name.
I much prefer it to "Dr. Talma" --
your disguise for the costume party.
20.
VALERIE
Then you may call me "Valerie."
SEBASTIEN
Listen Valerie... the most
beautiful song he ever wrote.
He closes his eyes again and very softly speaks the lines of
the song along with the VOICE on the record.
SEBASTIEN
(continuing)
"Come back my beloved!
Without your smile
My life is like a flower
Far from the sun."
The hospital room becomes a place of peace. A dying young man,
eyes closed, smiles. A woman doctor sitting by his bed, grace-
ful and lovely in her white uniform, closes her eyes, giving
herself completely to the music. The phonograph turning and
turning, transmitting the beautiful sounds. Even the tubes and
wires seem transformed; the intravenous bottles steadily, depend-
ably dripping, the electrocardiagram responding to the heartbeats,
arythmic though they be. Valerie looks down at Sebastien who is
falling asleep. He now only mutters along with the final reprise
of the melody. Then he leaves off, his lips moving, and he
Sleeps. She leans over the bed and puts her hand over the thin
hand lying atop the bedcover. The iodine painted on her index
finger has not yet worn off, but the brown stain is covered as
Sebastien's fingers begin to entwine in hers. She looks up from
the responding fingers. His eyes are closed, shut in Sleep, yet
a trace of a smile lingers on the lips. Her eyes are welling
with tears.
CUT TO:
INT. VALERIE'S APARTMENT/KITCHEN - NIGHT
Kitchen of Valerie's apartment -- a large room in an old-
fashioned flat with high ceilings. Valerie is washing dishes
at the sink. Marc is wiping the dishes and stacking them on
the kitchen table in the center of the room.
MARC
I'm glad you invited me to have
dinner here instead of going to
a restaurant.
VALERIE
I'm afraid it wasn't very good.
MARC
It was excellent. Besides,
I liked marketing with you.
Everyone thought we were
married. The kid really
understands our role, doesn't
he. To sign the death
certificate. God! I wish he
weren't such a damned lovely
kid... Big-hearted all right.
His heart's so enlarged it's
just about pushing into his
lung cavity! It's not a just
world, is it dear Dr. Talma?
Even though you're not a Marxist
like me, you'll admit it.
VALERIE
Yes, it's not a fair world.
I agree.
She is now scrubbing the sink with a rag and soap powder.
VALERIE
(continuing)
Ouch!
MARC
What's the matter? Why are
you crying?
VALERIE
It's that damned finger again...
the soap.
MARC
Well if the De Berthiers hadn't
found him first, I'll bet
Maréchal would have loved to
get his hands on him.
VALERIE
(running the water
loudly in the sink)
What would Maréchal do with him?
MARC
(sardonically)
Probably transplant the heart of
an ass into him to see what
would happen.
Zhe
She turns from the sink. Her eyes are red and a terrible look
is on her face.
22
INT. HOSPITAL DIRECTOR'S OFFICE - DAY
Morning sunlight pours in through the blinds of the window
behind the director at his desk. He is lifting up his telephone.
DIRECTOR
(glancing at his
watch)
They are? It's about time --
it's almost one already... Okay.
What's his room number...?
Eleven seventeen? Are you sure?
He was to have a corner room,
the same as last time... I know
Dr. Laval reserved both rooms.
Check again... Eleven seventy-
seven, right. You must have
mixed them up. Duras is in
eleven seventeen. I thought so...
And you installed another phone
in eleven seventy-seven? Fine.
Tell Monsieur De Berthier I'll
be up to see him, as soon as he's
settled in... And correct that
room mix-up in the registry.
Thank you.
He hangs up the phone and rises from his desk. He goes to the
window, pulls up the blind and looks down.
DIRECTOR'S P.O.V. - OUT WINDOW
A large blue Mercedes-Benz 600 parked in front of the hospital
entrance. Patrice, the chauffeur, is removing suitcases from
the baggage compartment and handing them to an attendant who
Stacks them up on a dolly. Adele, De Berthier's secretary, is
struggling to get out from the backof the automobile and at the
Same time to keep the two dogs from jumping out. She is also
encumbered with a typewriter, briefcase, dictation machine, and
various folders and papers. Opening the door on the opposite
Side of the auto, NICKY reaches in, handing out a large bouguet
of roses to GEORGES. Then he takes out another one of enormous
African daisies for Georges's other hand. For himself, out comes
Diane's luxurious mink coat which he elegantly drapes over his
arm. They trot back inside with the coat and flowers.
BACK TO SCENE
The director turns away from the window and lowers the blinds.
The bars of sunlight across his face intensify his angry
expression of recognition. He turns and walks toward the door.
23x
INT. CORNER ROOM 1177 - DAY
On every table, dresser, and stand are bouquets of flowers,
baskets of fruit, luggage, etc. In the midst of this disorder,
Achille De Berthier, settled snugly in his hospital bed already
strewn with papers, is loudly dictating while Louise, his nurse,
Sits on the bed taking his blood pressure. On the far side of
the bed, in front of the corner window, Adele is set up ata
table, typing furiously. Diane, puffing at a cigarette, is on
the telephone. On the other phone, Nicky is commandeering a
lunch. The red bulb over the door to room 1177 blinks like
the caution light over a dangerous road intersection.
CUT TO:
INT. SEBASTIEN'S ROOM - DAY
The door of room 1117 is opened by DR. LAVAL. He holds a piece
of paper in his hand. He closes the door behind him and stands
a moment. Fastidiously, he folds the paper and puts it in the
breast pocket of his white doctor's jacket.
COT TQ:
INT. ELEVATOR
Valerie stands at the front of the elevator with nurses and
interns and other hospital staff. Next to her is avery tall,
slender doctor. Unlike any of the others, he wears a green
Surgical gown with a tight-fitting green headpiece which serves
to accentuate the bone structure of his ascetic face -- the
face of an artist, or perhaps even a prophet.
VALERIE
It's good to see you again,
Dr. Maréchal.
He smiles at her as she turns to get off the elevator. She is
too late and the closing elevator doors catch her, pushing against
her. MARECHAL quickly and deftly intervenes and the doors slowly
open wide once again, allowing Valerie to pass. They close again
as Maréchal steps back into the elevator. The others dutifully
make room behind him. They look at him with awe and reverence
usually given to movie stars and politicians.
Cus Lue
INT. THE NURSES' STATION
Valerie, coming from the elevators in the b.g., stops.
(CONTINUED)
24.
CONTINUED:
Sebastien's YOUNG NURSE stands by the desk talking to the nurse
On duty.
VALERIE
What are you doing out here?
(to the desk
nurse, urgently)
Is anything wrong?
YOUNG NURSE
No, Dr. Talma. The doctor's
with him.
VALERIE
That's impossible. I just
left Dr. Chapelle.
YOUNG NURSE
No, it's Dr. Laval who's in
there with Sebastien's mother.
(she turns)
Here he comes now.
Laval walks down the corridor.
LAVAL
I was just looking in on your
patient, Dr. Talma.
VALERIE
Really?
LAVAL
Yes. It's a pity, but an
interesting case.
VALERIE
Indeed? From what point of
view, Dr. Laval?
LAVAL
It's quite a coincidence, but
the young man happens to have
an extremely close blood and
tissue match to my patient,
De Berthier. I admitted him
yesterday, by the way. I'm
very concerned about that sick
kidney of his.
25.
VALERIE
I hope you didn't tell my |
patient that the recipient |
has already arrived at the
hospital.
LAVAL
(upset)
I don't know what you mean.
VALERIE
Sebastien was admitted
yesterday as your patient,
wasn't he?
LAVAL
(suavely)
But now he's yours. You've
Switched sides, haven't you,
Dr. Talma.
VALERIE
I didn't realize a game was
being played.
LAVAL
(stung)
The boy's dying, anyway, Dr.
Talma. What's the difference?
Our only concern is to preserve
life.
VALERIE
But it must count for something --
the way one goes about doing it.
That's the difference.
She spins around from him.
CUT TOs
INT. SEBASTIEN'S ROOM - DAY
The nurse is in her corner chair. Mme. Duras sits next to her
son's bed, holding his hand. Sebastien lies, eyes shut, his
mouth set downward. Mme. Duras looks up at Valerie, scrutinizing
her. Valerie looks at Sebastien's grim expression.
VALERIE
Good afternoon, Madame Duras.
I'm Dr. Talma.
26.
MME. DURAS
(almost
belligerent)
You don't look like a doctor.
VALERIE
One of my patients already
told me that.
(looking toward
the bed)
It was one of the nicest things
anyone ever said to me.
Sebastien's mouth relaxes into a beautiful smile.
In tne. b.G»
the bed.
VALERIE
Now I want to examine your son.
MME. DURAS
But Dr. Laval just examined
him.
VALERIE
Really? That's strange, because
Dr. Laval is a surgeon, and your
son is not going to be operated
on. Why don't you wait in the
solarium at the end of the
hallway? It's nice and sunny
there. Claire will show you
the way, won't you Claire?
the young nurse, CLAIRE, rises and comes over to
CLAIRE
Come, Madame Duras. It won't
take very long.
MME. DURAS
(rising)
I'll be right back, Sebastien.
VALERIE
You're not listening to music
this morning?
SEBASTIEN
Promise me something.
VALERIE
What, Sebastien?
Valerie walks
Ga"Etre,*
SEBASTIEN
When it happens, I want to be
listening to the "Requiem."
I wanted you to know it, in
case I'm not able to ask,
myself.
VALERIE
(upset)
Stop being so dramatic,
Sebastien!
SEBASTIEN
Please -- even if they think
I can no longer hear it.
to the table. She picks up the record of
VALERIE
(reading from the
record cover)
"When spring comes
When the frost melts -- "
(she turns to
Sebastien)
"The two of us, we will go my love
To gather lilies-of-the-valley."
SEBASTIEN
Do you really think I'll ever
see another spring? I already
Signed the paper.
She puts the record down.
VALERIE
What paper, Sebastien?
SEBASTIEN
Dr. Laval just took it with
him. The paper of donation.
I'm a big donor. Didn't you
know? I'm a very charitable
fellow. Shall I tell you a
secret?
Valerie has come closer to the bed.
VALERIE
Yes, Sebastien, tell mea
secret.
a.
"Nuits
SEBASTIEN
I'm not supposed to -- but,
well anyway, what difference
does it make?
VALERIE
Yes, Sebastien, what's the
difference?
SEBASTIEN
I'm not so charitable, after
all, you see. I put a price
on it. For a price, I signed
the paper. Like Faust in the
"Damnation" -- signee -- boom --
bass drum.
He crosses himself with his free hand.
VALERIE
Some contracts are broken.
SEBASTIEN
This one won't be. You know
it and I know it. It's the
"Requiem" for me.
Valerie sits on the bed.
VALERIE
Just because you signed a paper
doesn't mean... I've already
donated my eyes when I no longer
have any use for them.
SEBASTIEN
(his eyes clouding
Over)
Keep them a long time; they're
too beautiful to give away too
soon.
VALERIE
And you too, Sebastien, wait
for me. We'll give them away
together.
SEBASTIEN
(beat)
You should be preparing me for
death, not for spring.
28.
20s
VALERIE
I'm not here to prepare you
for death. I'm here to keep
you alive for as long as
possible.
SEBASTIEN
(closes his eyes)
That's not long enough.
VALERIE
Possible has no time limit.
She takes his hand and he looks up at her again.
VALERIE
(continuing)
Did you ever think of that?
Do you ever think of the word
"possible?"
|
SEBASTIEN
What are you trying to do to
me?
VALERIE
How do you know what can happen?
You're still alive.
SEBASTIEN
I know there's no sense at all
in what you're telling me, but
I trust you. It's crazy, but
I trust you.
VALERIE
Then no more "Requiem." Promise
me.
SEBASTIEN
I promise.
VALERIE
Good.
She lets his hand go. There is KNOCKING. Valerie leans back.
SEBASTIEN
She's back already.
VALERIE
That's all right.
(MORE)
30.
VALERIE (cont'd)
You've passed the examination
with flying colors.
(she calls)
Come in.
The nurse enters with Mme. Duras. She gives Valerie a sign of
exasperation with the woman.
MME. DURAS
Is the examination over?
VALERIE
(rising from the
bed)
Yes, the examination is over.
SEBASTIEN
(calling to nurse,
but it is a secret
message for Valerie)
Take the records of the "Requiem"
off the machine, Claire. I
want to hear "Nuits d'Eté."
Mme. Duras is near the table. She knows her son and senses
something in his voice -- something that makes her feel left out.
MME. DURAS
No. T*1ll @do it.
She takes the records off the turntable, then she rummages through
the pile of records on the table -- a little overwrought.
MME. DURAS
(continuing)
Where is it? I can't find it.
Then suddenly she spots it, on the side where Valerie put it down.
MME. DURAS
(continuing)
Here it is! I found it!
She holds the cover up, triumphantly, upside down, and the record
falls out onto the floor. She bends to pick it up. Clumsy, with
her unshapely shoe, she steps on it and she breaks it.
CUT TO:
INT. VALERIE'S APARTMENT/BEDROOM - NIGHT
Valerie is asleep.
(CONTINUED)
31.
CONTINUED:
She DREAMS: Full moon as seen from the patio of Valerie's
villa. Night, but brilliantly illuminated by stark moonlight.
Valerie, in her nightgown, is on the patio. The wind is raging
furiously. Hair flowing behind her, Valerie stands pointing to
dead frozen plants. Standing beside her is not Emile, her care-
taker; rather Dr. Laval in a green surgical gown. Now she
stands, looking down at a beautiful live hibiscus in full flower.
Looking behind her furtively, she quickly bends down, picks up
the heavy wood tub and tries to get it into the house before
Laval can stop her. She is at the door, but she cannot get it
to open.
Valerie at the locked door, pulls and pulls at it in vain. Now
Laval's green gloved hand is on her shoulder and she hears
Sebastien's voice:
SEBASTIEN (V.O.)
What are you trying to do to me?
Before her eyes, the hibiscus withers and dies. Roughly, Laval
takes it out of her hands, leaving behind only a painful splinter
in her index finger.
CUT TO:
EAT « PARIS STREET - DAY
Valerie waits in front of a record shop. She has on a heavy
coat and is wearing gloves. A sign in the glass door of the
record shop reveals that the shop opens for business at nine.
Valerie looks at her wristwatch. Valerie stands in front of
the door and raps sharply on the glass. Inside, one of the
Saleswomen looks up. Slowly, taking her own sweet time, she
goes to the door and opens it for the impatient customer.
VALERIE
You could at least open on
time. I'm ina hurry.
SALESWOMAN
It's just nine, Madame.
VALERIE
(pushing past her)
Well, time to open up then,
isn't it!
SALESWOMAN
(to colleague, as
Valerie hurries
past them)
That's a real nice one to start
the day with!
cher
Valerie is at the record counter. A YOUNG MAN waits on her.
VALERIE
Berlioz. "Nuits d'Eté," please.
SALESMAN
Who?
VALERIE
Berlioz. Hector Berlioz.
Don't tell me you work ina
record store and you never
heard of Hector Berlioz.
SALESMAN
(looking at her
Strangely)
Excuse me, Madame. I just
didn't hear what you said.
Have you looked over there
under "B"?
VALERIE
No, isn't that what you're
here for?
SALESMAN
(coming out from
behind counter)
Just a moment, please.
Valerie has a distracted, faraway look.
SALESMAN
(continuing)
I'm sorry, Madame.
She starts. The young man goes back behind the counter.
SALESMAN
(continuing)
I said I'm sorry, Madame.
We're all out of "Nuits d'Eté."
May I order you a copy?
VALERIE
(her whole tone
has changed)
There isn't time. Can you tell
me where I might find one this
morning?
Ee
SALESMAN
I think you'd have better luck
at one of the large department
stores near the Opera. Perhaps
Printemps might have it.
VALERIE
Printemps. Yes, Printemps.
I'll go there right away.
Thank you so much. You're very
kind.
Valerie rushes out of the store. They stare at her.
CuK Se
INT. PRINTEMPS/RECORD DEPARTMENT - DAY
An Old woman behind the counter shrugs her shoulders and
Valerie hastens off.
CUT. TO?
EXT. STREET = DAY
Valerie spins out of the revolving door of Printemps. She
makes her way down the crowded Boulevard Haussmann to the
Galerie Lafayette, where she rushes headlong into another
revolving door.
INT. GALERIE LAFAYETTE
She spins into the vortex of shoppers on the brilliantly lit
main floor, like one of the leaves spiraling on the moonlit
patio of her dream.
INT. RECORD DEPARTMENT
A record clerk shakes his head "no." Then he seems to be
Giving her a suggestion. She nods.
EXT. OPERA —- DAY
Valerie is deposited through the spinning door onto the wide
Boulevard Haussmann across from the back side of the enormous
Opera. She stops to catch her breath, looking up at the
gigantic structure across the boulevard.
34.
INSERT - UPPER FACADE OF THE OPERA
The names of the "great" composers are inscribed for all time
in stone: Halévy, Cherubini, Spontini, Auber, Gounod, Rossini.
BACK TO SCENE
Now, she hails a taxi and gets in.
INT. TAXI - DAY
Taxi, Valerie in the back, is crossing the Pont Alexandre III
to the Left Bank. In the distance, the dome of the Invalides
is rose-colored in the morning sun. Valerie descends from
the taxi in front of a very large record shop on the Boulevard
St. Germain.
INT. RECORD STORE - DAY
Shelves of records go from floor to ceiling. Valerie, on her
knees, hunts through the lowest shelf. She looks awkward,
hunched over, on the floor. Suddenly, she lets out a little
cry, pulling a record from the shelf. She springs up. Exul-
tant, she holds in her hand the record of "Nuits d'Eté."
She stands impatiently at the cashier's counter at the front
of the shop while the CASHIER rings up the sale. She picks
her record up from the counter.
VALERIE
Don't bother to wrap it. I'm
in a terrible hurry.
Holding the record close against her breast, she hurries away
The cashier, finished with the machine, looks down a moment,
then up.
CASHIER
(she sees the door
closed)
Madame?
The cashier stands by the open door, looking up and down the
Street. In her hand she holds one of Valerie's gloves.
CUT TO:
INT. HOSPITAL/LOBBY - DAY
Valerie, alone, still in her coat and hat, waits in front of
the elevators.
(CONTINUED)
CONTINUED:
She holds the record. The doors of an empty elevator open
and she steps inside. Valerie gquickly pushes "11" as the
doors swing closed. She looks surprized when the elevator
unexpectedly goes down. The doors open again on the sub-
ground floor and avery young hospital ATTENDANT wheels in
a kidney dialysis machine.
ATTENDANT
Oh, good morning, Dr. Talma.
Sorry I brought you down.
VALERIE
(stepping back to
make room)
That's all right. Where is
that going?
ATTENDANT
(pushing "11")
Eleven seventeen, or is it
eleven seventy-seven? Do you
happen to know which is Monsieur
De Berthier's room? Dr. Laval
just ordered it.
VALERIE
(as the elevator
rises)
Eleven seventy-seven. Is
Monsieur De Berthier having
dialysis today?
ATTENDANT
Oh yes. To prepare him for
the kidney transplant.
VALERIE
Oh.
ATTENDANT
I think they expect the donor
to die today.
VALERIE
I see.
35.
She quickly turns away from him to face the door. The elevator
stops.
ATTENDANT
Did you forget to push your floor?
25 .
The doors slide open.
VALERIE
No, I get off here, too.
Swiftly, she steps out of the elevator. Behind her, the
attendant deftly wheels the machine out of the closing elevator.
She stops a moment at the nurses' station.
FLOOR NURSE
(looking up)
Good morning, Dr. Talma. He's
pretty bad.
VALERIE
Is Dr. Chapelle with him?
FLOOR NURSE
Not now. He was there most of
the night. He's catching a
little sleep in his office.
She walks down the hall, holding the record, once again, close
against her. She comes upon Mme. Duras sitting in a chair out-
Side her son's room. Mme. Duras stares at the record.
VALERIE
You might as well go home,
Madame Duras.
MME. DURAS
I'll wait here, thank you.
VALERIE
Your son should have no visitors.
MME. DURAS
I want to be with him when he
dies.
VALERIE
(almost shouting
at her)
He's not dying yet!
Valerie opens the door and goes in. The only sound is the HISS
of oxygen. Sebastien's eyes are closed and his mouth and nose
are covered with a breathing mask attached by a rubber hose to
the oxygen tank beside the bed. Thus, with eyes closed, he looks
completely lifeless. Valerie has regained self-control.
VALERIE
Sebastien.
D7
He opens his eyes and comes to life. She smiles and holds
the record of "Nuits d'Eté" for him to see.
VALERIE
Look what I found for you.
She sees the defeated look in his eyes. She puts her hand on
his.
VALERIE
(continuing)
Sebastien, rest.
He turns his head away from her, toward the table.
VALERIE
(continuing)
Do you want to hear music?
He turns back to her, staring hard into her eyes. Slowly he
nods his head "yes." She brings up the record again so he can
look at it and she smiles. His eyes fill with tears and he
Slowly turns his head "no," closing his eyes. Valerie straightens
up and turns to Claire, the nurse.
VALERIE
Play him the "Requiem."
Claire, finding the album, begins to take the two records out.
Valerie, close to tears, goes to the door in an effort to master
herself. She opens the door to find Nicky and Georges, standing
over Mme. Duras in the hall. Seeing the door to Sebastien's
room open, they saunter over and crane their necks trying to
see inside. Valerie steps out into the hall, quickly shutting
the door behind her.
NICKY
We were just asking the lady
how her son is.
VALERIE
Are you friends of his?
NICKY
(in Mme. Duras'
direction)
Well, sort of. It looks like
he's pretty near the end, isn't
he -- poor fellow.
Mme. Duras comes over to them.
MME. DURAS
They say they're friends of my son.
(MORE)
35%
MME. DURAS (cont'd)
It must be a mistake. I know
my son's friends.
NICKY
(to Valerie)
She misunderstood. We're
friends of Monsieur De Berthier.
He glances at Mme. Duras meaningfully.
MME. DURAS
(intimidated and
afraid, to Valerie)
Tell them my son isn't allowed
any visitors.
The opening strains of the "REQUIEM" are heard coming from inside
Sebastien's room and it is apparent the two men are puzzled on
hearing music coming from the room of the young donor Supposed
to be dying.
GEORGES
(to Valerie)
He's not allowed visitors; but
then what were you doing in
there? And what's that music
going on in there?
NICKY
Who are you, anyway?
VALERIE
I'm one of his doctors.
GEORGES
Oh really? I never would have
thought you were a doctor.
NICKY
Dr. Laval says he's sinking
fast. But what's the music
ror?
GEORGES
He's certainly in no condition
to listen to music, is he?
How much longer has he got?
The tears Valerie is trying to suppress find release in a paroxysm
of fury.
VALERIE
Get away from here!
oo
The men look startled.
VALERIE
(continuing)
The two of you! Get away from
here! Bastards! To talk like
that in front of the boy's
mother.
They turn away and start down the hall. Mme. Duras begins to
weep. Valerie looks at her, then she turns.
VALERIE
This woman's son is greatly
improved. That's why he's
listening to music, you bastards!
They turn away. Out of control, she shouts the lie after them.
VALERIE
(continuing)
Go tell that to your friend
De Berthier! And if they want
to know more about his condition,
tell them to ask me -- not his
mother.
MME. DURAS
Oh my God! Is he really
better, Dr. Talma?
VALERIE
(turning to Mme.
Duras)
Come with me. You can lie
down and rest in my office.
If we need you, I promise to
come and get you myself. Will
you come with me?
Valerie, her arm around Mme. Duras, leads her away.
Cur 2s
INT. MARC'S OFFICE - DAY
The blinds are drawn shut against the brilliant sunshine oucside.
His white jacket hangs on the back of a chair. Marc is asleep,
stretched out on a fairly wide sofa-bed; the pillows used when
it serves as a couch lie scattered on the floor below him.
(CONTINUED)
CONTINUED:
40.
Sound of DOOR OPENING, and a distorted rectangle of light is
cast on the floor -- a shadow coming into light -- then the
door quickly SHUTS. Marc, awakened, turns, looking up.
Stands in the semi-darkness at the closed door.
in white,
MARC
What time is it?
VALERIE
A little after eleven.
MARC
(bantering)
I've been on duty all night --
a fact you no doubt are unaware
of, being completely unconcerned
about my welfare.
VALERIE
(a strain in her
voice)
I'm sorry I woke you.
She doesn't move.
MARC
I had to put our young friend
On oxygen during the night.
VALERIE
(coming in closer)
I know. I saw him.
MARC
The heart's begun to fibrillate.
It could be any time now. They'll
need us to sign the death
certificate; Laval already
notified the operating room
team.
(he closes his
eyes)
I'll be glad when it's over.
VALERIE
I think we should call in
Mar@échal.
Marc opens his eyes and turns.
MARC
Maréchal? What on earth for?
(MORE)
Valerie,
41.
MARC (cont'd)
(he sits up)
Valerie, what's the matter?
VALERIE
Mar@éhcal would have done a
heart transplant. You said
so yourself.
MARC
Maréchal's a great surgeon
when he sticks to what is
possible.
VALERIE
What is possible?
MARC
What?
VALERIE
Nothing.
Hedonistically, he stretches out on his back, sensual and virile
in the half-light. She kneels down on the floor, collecting the
strewn pillows.
MARC
Where is a donor? It would
take weeks, maybe months to
ferret out a dead brain with
a living heart and a blood and
tissue match for Sebastien.
Look what De Berthier had to
do to find Sebastien's kidney.
Believe me, the kid won't make
it through the day. Let De
Berthier get the damn kidney
and Sebastien get out of his
miserable existence.
He hears her and he turns. She is kneeling on the floor sobbing.
MARC
Valerie.
She looks at him.
MARC
(continuing)
You poor darling. Come up here.
He reaches out and pulls her up beside him, moving back on the
couch to make room for her.
(CONTINUED)
42.
CONTINUED:
She sits there, looking down at him, wiping her tears with a
handkerchief.
MARC
Cold-hearted Dr. Talma needs
someone at last.
With his arms embracing her from below, he brings her down beside
him. He rests on his elbow, looking down at her.
MARC
(continuing)
Lie here with me and rest a
moment. Then, we'll go
together and see Sebastien on
his way. I'll take care of
everything.
He kisses the tears on her cheek. She puts her arms around him
and he kisses her mouth. Then he lowers himself beside her.
He cradles her in his arms and he smiles.
MARC
Strange. How much closer
together this terrible thing
has brought us. I was
beginning to give up hope this
would ever be possible.
CUT TO:
INT. SEBASTIEN'S ROOM - DAY
Valerie and Mare stand together over Sebastien. He Sleeps,
breathing the oxygen. Claire stands on the other side of the
bed. They whisper while Marc observes the EKG.
CLAIRE
(to Valerie)
Dr. Laval was in again to look
at him.
VALERIE
Was he awake?
CLAIRE
I don't know for sure. The
minute the music started he
Closed his eyes... He wants
to see you both.
43.
VALERIE
Who?
CLAIRE
Dr. Laval. He said it was
urgent for you both to come
to Monsieur De Berthier's
room immediately. I think
something's gone wrong there.
Valerie looks at Marc who has returned to the bed.
INT. CORRIDOR - DAY
Outside Sebastien's room. Marc has just shut the door.
VALERIE
Do you think Laval is calling
off the transplant?
MARC
What's the difference? What
difference would that make in
there?
He looks back toward Sebastien's room.
VALERIE
Nothing, of course.
MARC
Come on, let's go see what
Laval wants.
CUT TO:
INT. CORRIDOR - DAY
Valerie and Marc at the door of Achille De Berthier's room.
They are face to face with Dr. Laval, who appears to be very
angry. His back is to the closed door as if guarding the room
from the enemy.
LAVAL
Are you trying to kill my
patient, Dr. Talma?
MARC
(before Valerie
can answer)
What are you talking about?
Laval opens the door part-way.
can be seen on his back in bed.
LAVAL
You'll see what I'm talking
about.
LAVAL
(to Nicky)
Is this the “lady-doctor," as
you call her, who told you the
kid was having a miraculous
recovery?
NICKY
(looking at Valerie)
It most certainly is.
GEORGES
And not more than an hour ago!
LAVAL
(to Georges)
You never should have repeated
such a thing to him.
GEORGES
She shouldn't have told us such
a lie in the first place.
NICKY
Should we wait in the solarium
Or go back inside?
LAVAL
You can go back inside, but
don't let him get excited,
under any circumstances.
GEORGES
We most certainly won't.
NICKY
(looking at Valerie)
Enough harm'sbeen done already.
They go back inside. Marc looks confused.
LAVAL
(closing the door)
Let me tell you that the false
news put my patient into a
terribly agitated state.
(MORE)
Inside the hushed room,
44.
Achille
He motions inside to Nicky and Georges to come out to the hall.
Laval carefully shuts the door.
LAVAL (cont'd)
You know he has already had a
brain hemorrhage. Last spring.
Dr. Talma certainly knows.
She was a consultant.
VALERIE
(very quietly)
Yes. Before I switched sides.
LAVAL
I don't know what you mean.
At any rate, I'm convinced that
once we get a healthy kidney
into him, he'll be out of danger.
But until then, it's touch and
go. He's got to have dialysis
to prepare him for the transplant
operation.
MARC
Yes, I don't think the kid can
hang on much longer.
LAVAL
His blood's got to pass through
the dialysis machine without
clotting, but with his blood
pressure so high, the heparin
needed will also increase the
risk of another hemorrhage.
We'll need a Soloman to determine
the exact heparin dosage.
MARC
Well, since we can't help you
with that, we'd better get
back to our own patient. He
may need us.
LAVAL
No, not yet. First, Dr. Talma
has to undo some of the damage
she caused.
VALERIE
I don't understand.
LAVAL
Well, since you're the "lady-
doctor" misquoted by his friends,
he must hear the truth from you --
So he believes it.
(MORE)
45.
46.
LAVAL (cont'd)
His frame of mind is crucial
before we start dialysis. You
wouldn't want to be responsible
for a mishap, would you? It
could be a fatal one.
MARC
Of course not.
LAVAL
(grasping the
doorknob)
Then let's go in for a minute.
(to Valerie softly)
You see, Dr. Talma, it's not
always a question of sides --
sometimes one has to come the
full circle.
He starts to turn the handle; then stopping, he turns back.
LAVAL
(continuing)
Oh, one last thing. I hope
you're not planning to do
anything unnatural concerning
your patient.
MARC
Unnatural?
LAVAL
Well, even the oxygen -- of
course that was your decision.
But beyond that, I hope you'll
just let him go as nature
intends. After all, it is the
human thing to do.
Before Marc can say a word, he pushes open the door, ushering
Valerie inside the room.
VALERIE
Monsieur De Berthier, your
friends completely misunderstood
what I told them earlier this
morning.
Diane glares at her and Nicky and Georges look up smugly.
VALERIE
The young man is dying; I don't
think it's possible he'll last
out the day.
47.
De Berthier smiles.
Valerie's voice has a choked sound.
VALERIE
(continuing)
That's good news, isn't it.
And I can't say I blame you.
So I hope you're happy and
good luck to you.
She spins around. Marc and Laval look at her with a peculiar,
almost fearful expression. She bolts unsteadily out the door,
racing down the long corridor and around the corner, passing
hospital personnel and several ambulatory patients who stop
and stare. She opens the door of room 1117 to the sound of
MUSIC -- the Rex Tremendae of the "Reguiem."
SINGER (V.O.)
"QO Rex tremendae majestatis
You who save by grace
Save me, O source of pity"
Claire, bending low over the bed, is struggling with the dying
young man. At first sight, for a moment, it almost seems she
is trying to smother him. What she is doing, is desperately
trying to put the oxygen mask back over his face. But he turns
his head, writhing from side to side to prevent it. Out of
breath, he cries "No" each time she vainly attempts to replace
the mask over his mouth and nose. Claire looks up at the SOUND
of the door. She holds the mask with its hose in her shaking
hand.
CLAIRE
Thank God you're back. I was
afraid to leave him to get
help.
Valerie rushes to the bed.
CLAIRE
He won't take the oxygen.
Breathing laboriously, Sebastien looks up at her like a wounded
young wild animal run into the snare looks up at his trapper --
a delirious mixture of fear and defiance.
SEBASTIEN
(his chest heaves)
No more oxygen. Help me. Let
me go.
SINGER (V.O.)
"Deliver me from the mouth of
the lion...
(MORE)
i
48.
SINGER (cont'd; V.O.)
So that the abyss does not
Swallow me
And that I do not fall into
darkness."
Claire moves back and watches Valerie, who goes to the wall
cabinet behind the oxygen tank on the side of the bed. She
pulls open a drawer. There is a clatter as she gropes for what
She seeks. Sebastien has a look of inspired recklessness,
illuminating face which seems to be all eyes. His eyes move
in the direction of the CLATTERING. Valerie now holds up a
hypodermic needle, and from a small vial she is drawing up a
liquid into it. She looks absolutely composed.
Sebastien's eyes now take on a cunning interest as they follow
Valerie's action. A sharp RAPPING is heard at the door. Valerie
holds the needle and looks at the door which Claire has opened.
The young attendant (the same one who brought up the dialysis
machine on the elevator) offers Claire a little open package
of three vials.
ATTENDANT
Here's the heparin for your
kidney patient... You'd better
lower the music!
Claire turns to Valerie, confused.
VALERIE
(loudly, suddenly
rushing toward
the door)
Quick, Claire. Go up to my
office and get his mother.
Sebastien smiles.
VALERIE
Go. I'll take care of everything
now.
Claire goes out the door. Behind her Valerie takes the package.
VALERIE
(continuing)
You've got the wrong room.
ATTENDANT
I wish they'd get it straight,
Dr. Talma. I'm sorry.
He holds out his hand.
49.
VALERIE
That's all right. I'll bring
it over myself.
Before the attendant can answer, she shuts the door in his face.
The package she drops into her left jacket pocket.
Now she stands at the bed, holding the hypodermic needle.
MUSIC.
SINGER (V.O.)
"You who save by grace
Save me, O source of pity."
SEBASTIEN
I love you. If you love me,
you'll do it.
She sits down on the bed and injects into his arm. He looks
up at her, staring hard. She leans down and kisses him. He
smiles. Then his eyes close.
VALERIE
(quietly)
Sebastien... Sleep.
She replaces the oxygen mask over his face, then, Swiveling
around, she turns up the regulator on the tank. The HISS of
the increased flow of oxygen can be heard. Then she rises.
Looking back at Sebastien once more, she goes to the table and
turns off the phonograph. As it clicks shut, the DOOR also
is heard to open. Marc enters the roon, Closing the door be-
hind him.
MARC
Are you all right?
(glancing at the
bed)
He's asleep?
VALERIE
I gave him ten cc's of Valium.
He wouldn't take the oxygen.
Marc crosses to the FKG machine.
VALERIE
(continuing)
He wants to die. He thought I
was killing him. Laval would
have approved.
MARC
I don't think he's going to
wake up. Where's Claire?
VALERIE
I sent her to get his mother.
MARC
Good.
VALERIE
They delivered the heparin here.
MARC
Why did they deliver the heparin
here?
VALERIE
How do I know, Marc? This
hospital specializes in mishaps.
You heard Laval.
MARC
I'd better take it over to De
Berthier's room. They're
probably waiting for it. Where
1S 1t?
VALERIE
No. Iwill. Stay here.
(looking at Sebastien)
You can do more for him than I.
MARC
He could go any minute now.
What can I do?
VALERIE
Do whatever you possibly can,
Marc. For me as well as for
Sebastien. Because if you, too,
want the lady-doctor to speak
the truth --
(she looks down
at the bed)
-- There... that's the only thing
in the world I've ever truly
loved.
CUT TO:
50.
She looks at him a moment. Then she turns and leaves the room.
Marc stares at the closed door.
21.
INT. CORRIDOR - DAY
Valerie walks through the hall. She is remembering the "Requiem."
Her left hand is in the left pocket of her jacket. From the small
open package she clasps, she removes one of the three vials which
She now holds in her right hand. Putting both hands back in
their respective pockets, she disappears around the corner leading
to room 1177.
Cur TOs
INT. ROOM 1177 - DAY
Achille De Berthier is asleep. Louise, the nurse, is standing
over the dialysis machine. Valerie comes in closing the door
behind her.
VALERIE
I brought you the heparin.
They accidently delivered it
to the wrong room.
LOUISE
Thank you. I've been waiting
for it so I can begin dialysis.
Valerie reaches into her left pocket and hands her the open
package containing the two vials.
LOUISE
(continuing; taking
them)
Two? Dr. Laval said not to
use more than half of one.
De Berthier stirs. Valerie looks at him. Then suddenly she
jerks her right hand out of its pocket.
VALERIE
No! Here! I forgot. There
was another one.
(holding it out)
Here, take it.
Louise, taking it from her, puts all three down on the bed table
where a large syringe lies.
LOUISE
You still seem quite upset.
Valerie doesn't answer.
LOUISE
(continuing)
Well, misunderstandings will happen.
326
VALERIE
Yes, they will.
LOUISE
They were pretty angry with
you over that story.
VALERIE
I'm sorry. I'm sorry about
everything.
LOUISE
(now arranging
the tubes)
Yes. Actually, you know, they
think the world of you.
VALERIE
The De Berthiers?
LOUISE
Yes indeed. As a matter of
fact, I remember Madame telling
Monsieur only the other day,
the day before he was admitted
here, that you were excellent
in your field.
Louise is about to insert the needles into De Berthier's wrists
for the dialysis. She looks up at Valerie.
LOUISE
I don't think he'll feel a thing.
He got quite a dose of Valium,
and he's so used to this by now.
Can you believe it, he said he
was going to miss his machine
at home once he's well again,
the dear.
She inserts the two injection needles and De Berthier stirs and
opens his eyes.
ACHILLE
Oh... Louise...
LOUISE
Everything's fine, Monsieur
De Berthier. This is probably
the last treatment you'll ever
have.
ACHILLE
Fine... fine...
(MORE)
IJ
ACHILLE (cont'd)
(he closes his eyes)
Thank you, Louise...
He sleeps again.
LOUISE
(whispering)
If you play your cards right,
they still might hire you for
therapy for his bad arm after
all this is over.
VALERIE
Really?
LOUISE
Yes. Perhaps they might even
take you along for the
recuperation at the chateau
in Switzerland, like me. He's
SO rich he can have anything
in the world he wants.
She turns the dialysis machine on. Then, from the bed table,
she takes the syringe and one of the vials of heparin. She
meticulously measures the exact amount of heparin she siphons
up from the vial into the syringe. She replaces the half-empty
Vial to the table beside the two unopened ones. Then, turning
back to the machine she fastidiously sprays the heparin into the
blood-bath opening. Valerie watches and looks at the two un-
opened vials of heparin on the table beside the half-empty one
Louise replaced.
LOUISE
There. Now I can relax.
SOUND of commotion outside the door. Two men in green uniforms
enter, wheeling in a green-clothed stretcher. They leave the
door open behind them.
VALERIE
What's going on! You must have
the wrong room again.
INTERN
We have to take him down to the
operating room immediately.
VALERIE
What happened?
INTERN
The donor's heart stopped.
She holds on the back of a chair.
Louise rushes out.
Her right hand is in her jacket pocket.
now one vial of
Behind Valerie,
De Berthier out
plicated by the
Valerie moves to between the bed and the machine.
out from her right pocket.
fromthe table.
into the blook bath opening. Pocketing the empty vial, she
VALERIE
So he's dead. It's too late.
INTERN
Dr. Chapelle injected adrenalin
directly into the kid's heart
and started it again. The
kid's down in O.R. with Maréchal.
VALERIE
(almost shouting)
Maréchal! Who called in Maréchal?
INTERN
If the kid's heart stops again,
they might need Maréchal there
to open the kid up and put him
on the heart pump.
VALERIE
Put him on the heart pump?
INTERN
To keep the kid's blood pumping
until they get the bad kidney
out of De Berthier.
(turning to Louise)
Would you please run out to
the elevator. Tell them we'll
be out as fast as we can.
54.
Valerie is standing beside the bed table.
On the bed table are
heparin and the half-empty one Louise replaced.
the two operating room men concentrate co Litt
of the bed and on to the stretcher, a task com-
intravenous and dialysis connections to his body.
Her hand comes
It holds the vial of heparin missing
Ouickly, hand behind her, she pours the fluid
quickly moves out of the way.
(NOTE:
The previous scene is played simultaneous with the
following speech.)
O.R. MAN #2
Careful... That's the way.
Good... Watch his wrists...
That's it... Excellent.
(MORE)
aos
O.R. MAN #2 (cont'd)
All set? You wheel the I.V. rack
and you're in charge of the
machine. Okay. All of you
watch the lines. Here we go.
They wheel the stretcher past Valerie. Her eyes in panic search
De Berthier's sleeping face. She follows behind as they go out
through the open doorway. They disappear around the corner.
Glancing around, she re-enters the empty room. Calmly she
approaches the bedside table. She stares a moment at the empty
bed. She picks up the two remaining vials and slips them into
her jacket and with hands in her pockets, she quits the room.
CUT TOs
INT. CORRIDOR - DAY
The elevator door slides open. The intern and two orderlies
hastily wheeling De Berthier out, look down alarmed. His face
is colorless, but his moustache is stained scarlet from the
blood oozing out from his nostrils. They hurry him into
Operating Room #1 and lift him onto the operating table.
The operating room is in a state of pandemonium.
INT. SCRUB ROOM - DAY
Valerie enters scrub room for Operating Room #1. Almost
literally tearing off her white doctor's jacket, she rushes
to a wash basin, rolling up her sleeves as she goes. She turns
on the faucet, and with a hard brush she doggedly scrubs her
hands red. Then, after rinsing her wrists and forearms, she
dries with a sterile gauze towel. She goes to the rack and
quickly puts on a green gown, a cap, gloves, and lastly, a mask
She enters Operating Room #1.
De Berthier lies on the operating room table, machinery all
around him. Now, connected to his head are the electrodes of
the EEG machine. Dr. Laval, standing in front of it, shakes
his head as the DOCTOR with him scans the EEG reading. Valerie
approaches them.
OTHER DOCTOR
Flat. Absolutely nothing. A
dead brain.
VALERIE
What happened?
OTHER DOCTOR
Massive brain hemorrhage. Hopeless.
26.
LAVAL
God damn it! And his heart's
Still beating.
Valerie leaves Laval and the other doctor by the machine, and
quickly walks back into the scrub room and onward in to Oper-
ating Room #2.
INT. OPERATING ROOM #2 - DAY
Marc is at the electrocardiagram (EKG) machine, which continues
to register Sebastien's beating heart. Behind, Maréchal stands
bending over Sebastien on the operating room table. Valerie
comes into frame.
VALERIE
Marc. He's still alive.
MARC
Just about.
VALERIE
You heard what's happening in
there?
MARC
Yes. Is De Berthier dead?
VALERIE
But the heart's still beating.
I've got to talk to Maréchal.
CUT TO:
INT. DIRECTOR'S OFFICE - DAY
Hospital director at his desk in his office. Solemn-faced, he
is lifting the telephone off its cradle.
INT. DE BERTHIER'S APARTMENT —- DAY
Diane De Berthier, pale in shock, standing in the corner of
Achille's bedroom. Holding the gold-plated telephone, she is
speaking through her tears.
DIANE
No... No... I'm all right...
I just can't believe it... I
KNOWe.« YOSs ss
(MORE)
aT
DIANE (cont'd)
No, you can ask me, I'm all
right... The boy's still alive?
An experiment? Dr. Maréchal?
Who's Dr. Maréchal? No, what's
the difference -- let him take
the heart. What difference
does it make?
CUT TO:
INT. OPERATING ROOMS - DAY
A green-garbed nurse carries a steel pan with Achille De Berthier's
heart covered with a green cloth from Operating Room #1 through
the scrub room passageway into Operating Room #2. In Operating
Room #1, all the machinery is gone and the draped body is being
wheeled away; in Operating Room #2 the Operating equipment and
the operating room team are gathered around Sebastien. The figure
of Maréchal is bent over the patient. Suddenly Valerie totters,
about to fall. Marc, beckoning to another of the team to take
his place at the EKG machine, leads her away.
INT. OPERATING THEATER —- DAY
Valerie, led by Marc enters the balcony overlooking the operating
theater. They still have on the Operating room gowns, but the
masks, gloves and caps are off. Valerie collapses into a seat.
Marc sits down next to her.
MARC
Why don't you go lie down.
You look terrible.
VALERIE
No, I'm all right.
MARC
I think this one's going to
be a fast one.
VALERIE
Is that good or bad?
MARC
The way Maréchal works, he'll
have it sewn in within the
half-hour.
The VOICE of PROFESSOR LESEUR from behind them.
28 .
LESEUR (V.O.)
Then comes the moment of truth,
right?
Valerie turns back and stares. Professor Leseur is Sitting
with a few of his students, talking to them.
LESEUR
(continuing)
You see, the chances of even
getting through the operation
itself are pretty slim. No
one, not even Maréchal, will
know if the transplant has
worked until the heart-lung
bypass pump, which is now doing
the work of his heart, is shut
off. Then, when the clamps
that prohibit the blood from
flowing into the new sewn-in
heart are removed, and the
electric shock is applied to
it, we all say a prayer and
wait to see if the transplanted
heart will beat.
MARC
(to Valerie)
Are you sure you're all right?
VALERIE
(strongly)
Yes. Go back in case they
need you.
Marc gets up. He looks down at her a minute, and then he leaves.
Absently, Valerie examines the scar on her right index finger.
She remembers Marc removing the splinter from her finger.
MARC (V.O.)
I only help nature along. I
don't want to play God.
VALERIE (V.O.)
Who does?
LESEUR
This is it, boys! The moment of
truth!
Valerie sits up startled.
a9.
LESEUR
See, they're getting ready to
turn off the heart pump and
remove the clamps from the
sewn-in transplanted heart.
They're bringing over the
electronic paddle!
Two operating room surgeons bend over Sebastien, working on his
chest, hiding the still-open transplanted heart from view. An
operating room nurse shuts off the nearby machine. The two
doctors straighten up; and Maréchal, holding and electric paddle
like a wand, touches with it the blood-filled heart in Sebastien's
open chest.
A ROAR comes up from below inside the glass enclosure, matched
by applause from the students. Valerie stands up and screams.
She rushes to the glass. Her nose is squashed flat against the
glass and her beautiful face is distorted.
Cur TOs
EXT. DE BERTHIER'S APARTMENT/AVENUE FOCH - DUSK
Every window of the stately townhouse is ablaze with light.
INT. DE BERTHIER'S/DRAWING ROOM —- DUSK
A beautifully proportioned drawing room. Diane, flanked by
Nicky and Georges on a divan, looks perfect in black. Adele,
the secretary, sits alone by the fireplace (over the mantle
hangs a full-length portrait of Diane with the dogs) huddled
deep into a chair with high wings; her pain and discomfort are
real.
DIANE
But darlings, you forget. I
gave permission. Over the
telephone. I gave them Achille's
heart.
NICKY
You didn't know what you were
doing. You were in shock.
DIANE
Yes. I was. For it to happen
like that, at the very last
minute.
GEORGES
It was that bitch Talma.
(MORE)
60.
GEORGES (cont'd)
She did it -- upsetting Achille
with that crazy story about the
kid. You should sue her for
malpractice! That's what you
Should do.
DIANE
Quiet. Both of you. Please.
The two dogs are scampering in from the foyer.
DIANE
(continuing)
Here come maman's darlings!
They run to her, jumping up, trying to get up on the sofa.
Nicky and Georges, knees together, move their feet to avoid
them.
DIANE
(continuing)
see. They're trying to cheer
me up!
(turning to Adele
in the corner)
Adele, you've been sitting
there all afternoon. I want
you to go home and rest. Do
you understand me?
Adele crawls out of her chair. Diane holds out her hand.
DIANE
(continuing)
Come. You've been a perfect
angel. I'll see you out.
She leaves the room with Adele and the dogs. No sooner are the
large double doors closed behind then, Nicky and Georges rise
from the divan to follow. . In the foyer, Adele is putting on
her coat.
ADELE
I feel terrible, bringing this
up at a time like this, Madame
De Berthier, but I don't know
what to do.
DIANE
What's the matter, Adele?
61.
ADELE
If we're going to stop the
check to Madame Duras, I must
call the bank first thing
tomorrow morning.
DIANE
Then call the bank by all means.
let the government take care of
them with the taxes I'm going
to be obliged to pay.
Nicky and Georges open the double doors and come into the foyer.
DIANE
(at the door)
Goodnight darling. Thank you
for being so loyal.
A limosine pulls up at the curb outside and Georges and Nicky
come to the door followed by the yelping dogs. Adele is out
the door. Diane turns back to Nicky.
DIANE
(continuing)
Here comes the Minister of
Justice, himself. Georges,
I don't want the dogs out on
the street. Adele, tell uncle's
driver to take you home. Tell
him I said so.
Georges is occupied with the dogs. Diane and Nicky watch the
elderly De Berthier being helped out of the back of the car by
the chauffeur.
DIANE
(continuing; to
Nicky)
I'm going to be so bored
without Achille.
Adele talks to the chauffeur, then gets in the back of the car
as the old man comes up the steps.
NICKY
I think we should go to the
chateau, anyway. Achille would
have wanted it.
DIANE
Do you think so? Well, maybe
in January. We'll see.
62.
UNCLE
(at the door)
Diane, I'm so sorry!
He comes in and embraces her.
Nicky and Georges close the door.
DIANE
I know, uncle.
and Georges. I
You know Nicky
don't know how
I'd manage without them.
Uncle, still in his overcoat,
opens a folded newspaper he carries.
UNCLE
Look. They sent me over the
proofs of tomorrow's paper.
Look at the front page.
He holds it up for them to see.
INSERT - NEWSPAPER
A large black-bordered picture of Achille De Berthier. Headline
under the picture: "The last and greatest charity of this un-
selfish man... the gift of his own heart." Another column head-
line: "Dr. Maréchal does it again. Young recipient to remain
anonymous."
BACK TO SCENE
UNCLE
(choked with
emotion)
And wait until you read the
story. He died a hero, our
Achille.
DIANE
Nicky, darling.
Do me a favor.
Don't forget. Ring up Adele in
a little while.
Tell her I had
a change of heart about the
check. Tell her to let it go
through. She'll understand.
INT. MARC'S OFFICE - DUSK
CUT TOs
Valerie is looking out the window of Marc's unlit office.
(CONTINUED)
63.
CONTINUED:
She wears her doctor's uniform again. Below, dusk is enveloping
the city and the street lights go on. Suddenly, the office
itself is brightly lit up. She turns, surprised, blinking her
eyes. A tall distinguished-looking white-haired woman, a DOCTOR,
has just turned on the light switch inside the office. She
Stands at the open door with a slightly reproving look.
DOCTOR
Standing in the dark, Dr.
Talma?
VALERIE
(her back to the
window)
Why... Yes...
She moves forward toward the desk. The older woman comes in-
to the office, leaving the door behind her ajar.
DOCTOR
I'm Dr. Levéque. How do you
do?
She shakes Valerie's hand. Her grip is like that of a man.
LEVEQUE
(continuing)
Dr. Chapelle told me you wanted
to come to the recovery room to
see your former patient.
VALERIE
My former patient?
LEVEQUE
The Duras boy, of course. Oh,
let me explain.
She half-sits on the edge of the desk top.
LEVEQUE
(continuing)
Dr. Maréchal just called me in
on this case. I'm an immunologist.
VALERIE
I see.
LEVEQUE
At this stage, the Duras boy
doesn't need a neurologist --
that is, unless he suffered
brain damage during the
operation, which I doubt.
64.
VALERIE
Thank God!
Levéque looks at her peculiarly.
LEVEQUE
But he will not be able to
Survive unless I can keep his
body from rejecting the new
heart.
VALERIE
But Marc... Dr. Chapelle, is
still on the case?
LEVEQUE
Yes. I'll be working with him.
And for some reason he wants
you to come to the recovery
room at once.
VALERIE
(smiles)
Fine.
Levéque moves off the desk.
LEVEQUE
Well then, come. I'll take you
to the buffer zone. |
VALERIE
Buffer zone?
LEVEQUE
(slightly annoyed
and rather arrogant)
I've just put the patient on
immuno-suppressive drug therapy...
(looking up smugly)
I assume you know what that is.
Levéque, not giving Valerie time for a "yes" or a "no", continues,
talking slowly and over-distinctly as one would talk to a child.
LEVEQUE
(continuing)
The therapy is to suppress his
body's immunological defense,
which would naturally cause him
to reject the new heart -- as a
finger would reject a splinter,
if that will help you understand
the rejection process.
655
VALERIE
(upset)
I understand the rejection
process.
LEVEQUE
(satisfied that, but
not knowing why,
her bon mot reached
the mark)
But, you see, these drugs I am
giving him also prevent his
body from rejecting ordinary
bacteria which could now
invade his weakened defense
system and kill him. So you
will have to be asepsized, my
dear... Purified. Decontaminated.
Purged. Antiseptic, with clean
hands.
She laughs.
VALERIE
Yes, of course.
LEVEQUE
Fine, let's go.
Levégque turns and walks out the door. Valerie obediently follows.
They walk single-file down the hall, Levéque's back to Valerie.
LEVEQUE
(continuing; not
turning around)
I have a full day of private
patients tomorrow, and I want
to go home and have a nice
dinner. Also, early to bed and
early to rise.
Levéque leading, Valerie following, they walk down a very long,
dark corridor which ends at a small door with a little window
in it, from which a single shaft of strange artificial, blueish
light shines into the dark corridor. Levéque pushes the door
open and the strange fluorescence shines on their faces.
LEVEQUE
I leave you here. Go into the
first door inside on your right.
Valerie enters the artificially lit corridor with doors on either
Side. The corridor ends at a large door.
(CONTINUED)
6b.
CONTINUED:
She goes into the door on her right.
INT. DRESSING ROOM - LATER
A small, plastic-curtained dressing room. Valerie has removed
all her clothes. A gloved hand is passing in a sterile shirt
and trousers.
INT. CORRIDOR
Once again, in the blue-lit corridor, Valerie, attired in the
above, enters a second door, pointed out by an arm and gloved
index finger at the doorway from which she exited.
INT. SECOND DRESSING ROOM
She scrubs her hands and arms. Then she puts on a sterile
green gown and a pair of green plastic gloves.
INT. CORRIDOR
Now Valerie stands in the eerie blue light and knocks on the
door at the end of the corridor. A panel on it slides open.
Through the porthole window that suddenly is disclosed, a masked
and capped face peers out. Then, the wide door Slowly swings
open. Valerie enters.
INT. RECOVERY ROOM
The large windowless, fluorescently lit recovery room. The sound
of the door resonantly CLANKS. The masked "guardian" of the
room, who looked through the "porthole" and opened the door, nods
to her and returns to a chair near the door. Sebastien lies in
the center of the room. A transparent plastic tent envelopes
his bed like a cocoon. Racks, with bottles and tubes, hang over
him under the plastic carapace. Marc and a nurse, both of them
Similarly gowned and masked, nod to her. Another man clad like
herself is washing down the wall with a sponge and a stainless
steel basin of antiseptic solution. He looks at her and stops
a moment.
MAN AT WALL
Floors and furniture, too.
Every four hours -- the whole
thing all over again!
67.
Marc 1S pointing to the bed. Valerie goes to it. Valerie
looks down at Sebastien -- through the protecting transparent
tent. Sebastien's eyes are only half open. He seems not to
be asleep, but alsonot quite conscious either. A breathing
tube comes out of his mouth from within his windpipe. Another
tube is in his nose. Three other tubes enter his left arm for
the drugs and blood to drip down from the cradle of bottles
Suspended on the rack above him. He looks unreal, like the
light that shines down on him.
VALERIE
(whispering)
Is he awake?
MARC
I don't think the anesthesia
has completely worn off yet.
VALERIE
Is he in pain?
MARC
Who knows how it feels to have
a new heart?
VALERIE
Is everything all right?
MARC
(exuberant)
For the first time in his life
he has a normal heart! The
electrocardiagram was perfect.
We even disconnected it! The
rest of the pipes will come out
tomorrow. Valerie, it's fantastic!
VALERIE
Does he know what happened?
MARC
I don't know. The immunologist
already gave him a heavy dose
of cortisone. That should
Give hima lift. You met
Levéque.
VALERIE
Yes.
MARC
She's the very best.
(MORE)
68.
MARC (cont'd)
The only thing I'm a little
concerned about is possible
brain damage when his old heart
stopped. If that happened,
we'll need you on the team
again.
VALERIE
God forbid!
MARC
He could hear you if you speak
up.
VALERIE
Have you tried?
MARC
No, Valerie. I've been waiting
for you to come.
VALERIE
Marc. Thank you.
Her gloved hand gently rests on the plastic above Sebastien,
involuntarily caressing it.
VALERIE
Sebastien, can you hear me?
Do you remember the possible?
It's happened, Sebastien. You
have a new heart in you, and
it's working perfectly. They
found a new heart for you.
Do you hear what I'm telling
you, Sebastien darling?
Sebastien's eyes open and focus on Valerie, in recognition.
He tries to turn his head. Suddenly, terribly aware of the
tubes in his nose and mouth, he opens his eyes wide with fear.
VALERIE
(continuing)
It's all right, Sebastien.
They'll come out tomorrow.
You're fine. You're wonderful!
He looks at Valerie again. Then his eyes focus on her gleved
hand resting above him atop the transparent tent. He moves his
left arm slightly. Realizing that it is restrained, he looks
up a moment at the cradle of bottles.
(CONTINUED)
69.
CONTINUED:
Then, trying his other arm, he senses that it is free; and
Slowly he lifts it upward until it is perpendicular to his
body, his fingers reaching and touching hers on the other side
of the tent. Pushing the material, he presses against her
Fingers from below. Marc signals with his arm for the others
to come to the bed to observe this hypernormal show of strength.
Sebastien's arm remains potently erect.
LATER
Sebastien lies in his bed. Only now the plastic tent is gone
as well as all the tubes that were in his mouth, nose and arm.
Valerie, alone, stands by the bed. Only now she has no mask.
Sebastien's arm is up-raised exactly as before. He smiles at
her as he pokes at her outstretched fingers with his arm from
below.
SEBASTIEN
Like that, I did it? Three
hours after the operation? I
don't believe it.
VALERIE
Well, you didn't jab at me
like that. You were trying to
touch my hand.
Sebastien, in mock haste, brings his hand down.
SEBASTIEN
Then I was delirious. Why else
would I want to touch your
hand? As for you... there is
something I do remember.
VALERIE
What do you remember, sleeping
beauty?
SEBASTIEN
I remember telling you that
if you loved me you would
stick me with a hypodermic
needle; and you did it.
VALERIE
Don't talk about that.
SEBASTIEN
But you did it.
(MORE)
SEBASTIEN (cont'd)
You gave it to me. That proves
something about you!
VALERIE
Don't be so sure. And stop
teasing.
SEBASTIEN
Naturally, you lied even then,
because you didn't give me
what I asked for, did you.
Instead, you gave me a new
heart. That's what you did.
VALERIE
It wasn't I who gave you a new
heart. It was Maréchal. He
did it.
SEBASTIEN
You're lying again, you liar.
VALERIE
What do you mean?
SEBASTIEN
You told me what was possible
and then you put me to sleep
when I thought you were putting
me out of my misery -- as I
asked you to do if you loved
me, Of course -- Then the next
thing I know: "Sebastien, can
you hear me? Do you remember
the possible... Sebastien,
darling." Wow!
VALERIE
I thought you didn't remember
that. You're making fun of me.
SEBASTIEN
Okay. Spill the beans. Whose
heart did you give me? Nobody
in this antiseptic cell of mine
will talk about it.
VALERIE
It was an accident victim, a
young man like yourself.
(MORE)
70.
VALERIE (cont'd)
It was a coincidence, lucky
for you that he happened to be
brought in and he died of head
wounds. The heart transplant
Suggested itself.
SEBASTIEN
Well, at least it was a man.
I wouldn't want a woman's heart.
VALERIE
It wouldn't have made any
difference.
SEBASTIEN
Hell yes! I might have become
like you...
VALERIE
Like me?
SEBASTIEN
Yes. You know... all emotional
and passionate like you.
VALERIE
I see, you wouldn't want to
become like that.
SEBASTIEN
Certainly not! By the way,
what ever happend to De Berthier?
VALERIE
Well, he didn't get your kidney,
did he?
SEBASTIEN
I'll bet he's sore as hell.
VALERIE
No, he's not sore. Not at all,
I assure you.
SEBASTIEN
But whose heart have I got?
I want to know. I want to
thank his family. After all,
they had to give their permission,
like I did. Didn't they?
VALERIE
Yes, but you're not supposed to
know them, ever.
eo
er
SEBASTIEN
Why? Why not?
VALERIE
Because it only complicates
things. It's just a pump you
got, just a piece of machinery.
SEBASTIEN
You're lying again, you liar.
VALERIE
What?
SEBASTIEN
I don't even have a heart. I
can't feel it beat; I can't
hear it beat. I'm heartless.
VALERIE
And what do you think that scar
you've got came from?
Sebastien sits upright and impulsively unbuttons his pajama
top, exposing an enormous stitched cross-shaped scar. It
Starts below his adam's apple and runs vertically down to his
navel; the horizontal line crosses his chest from nipple to
nipple.
SEBASTIEN
This? This scar? This blemish?
This cross I bear? I really
don't know. Do you think there's
a heart in it? Perhaps you'd
better listen for yourself and
tell me if you can hear anything
beating.
She sits down on the bed, and indulgently bending toward his
chest, she places her ear against the horizontal line on his
chest.
SEBASTIEN
(continuing)
Do you hear anything, Dr. Talma?
VALERIE
I hear the strong steady beat
of a heart.
SEBASTIEN
Listen some more and tell me
if that's all you can hear.
tate
VALERIE
I hear your heart.
Valerie's head is against his chest, listening to his heartbeat.
SEBASTIEN
All my life I had only a
terrible pain there. Now I
don't feel a thing.
VALERIE
I hear your heart, Sebastien.
SEBASTIEN
And now I feel things I never
felt before.
His hands gently caress her head.
VALERIE
(murmuring)
I hear your heart, Sebastien,
my darling.
SEBASTIEN
(bursting into
tears)
You are my heart.
He sobs and envelops her head in his arms.
Cor TO:
INT. HOSPITAL CONFERENCE ROOM —- DAY
The large rectangular table in the conference room of the hos-
pital. The director sits at the head of the table. On his
immediate right, Dr. Levéque; on his left flank, Marc. Valerie
Sits next to Marc. And across from her, on Dr. Levéque's right,
a new young doctor, DR. DAVID. At the far end of the table is
Mme. Duras, Sebastien's mother.
MARC
I asked Dr. Talma to continue
on the case -- with all due
respect to you, Dr. David --
because I'm sure you are all
aware of how much Sebastien
depends on her. He has
tremendous confidence in her.
DIRECTOR
(Smiling at Valerie)
You seem to have a new admirer,
Dr. Talma. And I can't say I
blame him.
LEVEQUE
The drugs, you see, initiate a
rather strong sexual response.
DIRECTOR
Now I wouldn't say one would
have to be under drugs to
appreciate a beautiful woman.
Come, come. Be fair, Dr.
Levéque.
VALERIE
(interrupting)
I'm very flattered. But I
thought we were here to discuss
Sebastien.
LEVEQUE
(to Valerie,
condescendingly)
Sebastien's mental state is an
important barometer of how the
transplanted heart is functioning.
So if a little adolescent
infatuation keeps his spirits
up, far be it from meto object.
DAVID
What is the boy's actual age?
MME. DURAS
My son is nineteen, Dr. David.
And I don't understand why I
haven't been able to even see
him, yet.
DIRECTOR
(looking at her)
Of course. And that's why we
asked you to join us this
afternoon, Madame Duras.
LEVEQUE
Do you understand, Madame, that
your son is in isolation and may
have to remain so for the rest
of his life.
(MORE)
#@%
LEVEQUE (cont'd)
The drugs we are giving him to
Suppress his body from rejecting
his new heart leave him unprotected
from germs that you or I may be
immune to, but that could be
carried to his recovery room
unless every precaution is taken.
However, I'm happy to inform you
that Sebastien is already well
enough to undergo a visit from
you tomorrow morning. It's
already down on his schedule.
DIRECTOR
Now that is good news, isn't it,
Madame Duras.
MARC
Your son has been through quite
a shock, Madame Duras, mentally
as well as physically. Why don't
you stop in and see me in my
office first thing tomorrow
morning and we will talk about
your visit with him before you
go up.
MME. DURAS
(to Marc)
What for?
MARC
There are certain things you
must not tell him yet.
MME. DURAS
I never lie to my son and he
never lies to me.
(turning to the
director)
I don't understand what there
is to talk to him about.
LEVEQUE
Well for one thing; we don't
want a case of post-operative
psychosis. We don't want to
have to call in a psychiatrist
for your son.
MME. DURAS
(of fended)
A psychiatrist?
(MORE)
13.
MME. DURAS (cont'd)
What are you talking about? My
son doesn't need a psychiatrist!
I'm starting to think what he
needs is to go home to his mother.
LEVEQUE
(irritated)
Where do you live, Madame?
MME. DURAS
In Montmartre. Rue des Martyrs.
LEVEQUE
(to Dr. David)
Well, that answers one of our
questions. He'll have to stay
here indefinitely.
MME. DURAS
What do you mean? I can take
care of him. I have some money
now, and it's all for Sebastien.
LEVEQUE
(even more annoyed)
Do you want your son to die in
Montmartre from a common cold?
VALERIE
(very quietly)
May I say something?
DIRECTOR
Of course, Dr. Talma.
VALERIE
Why don't we put first things
first.
DIRECTOR
(relieved)
That's an excellent idea!
VALERIE
And later, when Sebastien is
well enough, he can make up his
own mind about where he would
like to live.
DIRECTOR
Then, yes, why not let the young
fellow make up his own mind?
(MORE)
16.
or
DIRECTOR (cont'd)
(looking across at
all of them)
After all, he's over eighteen
to begin with!
CUT TO?
INT. RECOVERY ROOM - DAY
The blue-lit corridor outside Sebastien's recovery room.
Madame Duras wears the green cap and gown and the canvas shoes;
but she is without a face mask. Tentatively, she raps on the
door with a green-gloved hand.
SEBASTIEN (0.S.)
(from inside, firm
and vibrant)
Just a minute! Hold it a second!
A SOUND of quick movement from within.
SEBASTIEN (0.S.)
(continuing)
Don't come in until I tell you.
A brief moment of silence. Now, from inside, the MUSIC of the
first song of "Nuits d'Eté." Mme. Duras stands in front of the
door, quite bewildered.
SEBASTIEN (0.S.)
(continuing; closer)
Surprise! Surprise! Okay
Valerie, you can come in!
She waits, not knowing what to do. Then the door opens from
inside and there is Sebastien, holding open the door. He looks
astonishingly healthy, almost robust, and he wears a beautiful
yellow robe.
SEBASTIEN
(continuing)
Mother! A visitor from the
outside world! I really must
be making progress!
MME. DURAS
Didn't they tell you I was
coming?
SEBASTIEN
Yes, of course.
(MORE)
?3«
SEBASTIEN (cont'd)
But not this early in the morning,
and why shouldn't I be excited
all the same!
(pushing the door
open wide)
Welcome to the inner sanctum.
He looks at her and laughs.
MME. DURAS
What are you laughing for?
SEBASTIEN
You! If you could see yourself
in that costume!
Clumsily, she tries to straighten the cap on her head.
SEBASTIEN
They made you wear gloves, too!
That's what it's like when you
come from the polluted world.
But at least they didn't make
you wear a mask.
(he indicates a
plastic-covered
chair)
Sit down, mother, while I take
off the record. They brought me
up the phonograph just last
night, but for some reason, they
won't give me back my old records.
(shutting off the
machine)
It doesn't make sense, but around
here you ask no questions.
He holds up the record cover of "Nuits d'Eté.”"
SEBASTIEN
(continuing)
This is the only record they
let me have, because it hadn't
been opened. You remember...
you broke the old one and Valerie
brought me this new one. She
stood by my bed that morning and
held it up to show me, but I
never thought I'd live to hear it.
As he takes the disc off the turntable, careful not to touch the
Surface, and fastidiously replaces it in the record jacket, she
rises from her chair. Impulsively, she comes to embrace him.
(CONTINUED)
eur
CONTINUED:
He turns to find her green-gloved hands reaching around him.
Quickly, he pushes her away.
SEBASTIEN
Oh no mother! No hugging and
kissing allowed! That's strictly
forbidden. You go right back and
Sit in that chair; I'll stay here
on the bed.
Sebastien reclines on the bed. In the chair, Mme. Duras wipes
her eyes with the hem of her gown, disclosing a pair of corpulent
legs stuffed lumpishly into the much too tight sterile trousers.
She looks ludicrous and rather pitiful. He looks at her.
SEBASTIEN
Mother, I'm sorry. But there's
no reason to cry. I'm not
rejecting you; it's the heart
I don't want to reject. I
have to do exactly as they say.
MME. DURAS
No, I'm crying because I'm so
happy to see you alive.
SEBASTIEN
(lying back on his
pillows)
Good.
MME. DURAS
(dropping the hem
and forcing a
smile)
Where did you get that beautiful
robe? It's not a hospital robe,
La it?
SEBASTIEN
Oh no, Valerie gave it to me.
He, too, smiles.
MME. DURAS
Oh, I see.
SEBASTIEN
So tell me, mother, how's it
going? You never got the money
and here I am, no good at all
to you at the moment.
(MORE)
SEBASTIEN (cont'd)
But maybe I'll be able to take
care of you yet. I've never
felt more alive and strong.
MME. DURAS
They gave me the money anyway.
SEBASTIEN
They did? I'm surprised. That
was really generous of them. I
was afraid he'd be sore as hell!
MME. DURAS
Who are you talking about?
SEBASTIEN
Monsieur De Berthier. Did he
ever find himself a kidney? I
was afraid he was going to sue
us for it!
MME. DURAS
What are you talking about,
Sebastien?
SEBASTIEN
Okay. They won't sue us. I
was only joking with you.
MME. DURAS
Why are you talking so foolishly?
It's those drugs they're stuffing
you with. I knew you weren't
yourself the minute I saw you.
SEBASTIEN
I'm not myself anymore. You're
right. Thank God I am different
and I feel different! And it's
not the drugs, believe me. And
what's so strange if I'm curious
about Monsieur De Berthier?
Don't forget, he was supposed to
get my kidney... it's only natural...
But I should have known Valerie
would come through.
MME. DURAS
Valerie would come through?
SEBASTIEN
(enthusiastic)
Well, of course, it was that
marvelous Maréchal. He is God!
80.
MME. DURAS
Don't talk like that!
SEBASTIEN
All right. He's like God. He
Sits at God's right hand, if
you like. Then there's Dr.
Chapelle... Marc... and Dr.
Levéque -- she reminds me a
little of you. But somehow,
with it all, I feel that I'm
alive because of Valerie.
MME. DURAS
Doctor Talma.
SEBASTIEN
Valerie... Maybe because when
I had completely given up, she
begged me to try to hold on.
She told me it was possible for
me to live. Somehow, she knew
it, even when I was half dead.
You don't buy someone a new
record when you expect them to
die that day. You had given me
up. Admit it. All you did was
to say prayers for my soul.
MME. DURAS
(She looks at hin,
almost belligerently)
And Valerie. Valerie saved your
life. Is that what she told you,
your Valerie.
SEBASTIEN
Oh no, she never told me that.
Let's say I feel it deep down in
my heart... or whosever heart it
was before she found it for me.
MME. DURAS
She found it for you? She did?
SEBASTIEN
She was the only one in the world
who believed I could live. And
I'll tell you something else,
mother... and it's not the drugs...
and I'm not joking with you... I'm
in love with her. I'm serious.
(CONTINUED)
81.
Mme. Duras, in the chair, is overwrought, with tears in her eyes.
SZ.
CONTINUED:
Her hand twitches, and she clutches at her breast beneath the
folds of her hospital gown as if she had a pain in her heart.
Sebastien stands up, alarmed.
SEBASTIEN
Mother? What's the matter?
Are you all right?
He takes a few steps forward, then stops.
SEBASTIEN
(continuing)
What's that you have in your
hand?
She holds a piece of folded newspaper in her trembling gloved
hand.
MME. DURAS
No. Maybe I shouldn't let you
see it.
SEBASTIEN
What is it?
MME. DURAS
Never mind.
SEBASTIEN
Come on. Give it to me.
He brusquely takes it out of her hand and turns away from her,
carefully unfolding the newspaper.
MME. DURAS
Sebastien. For you own good,
maybe you shouldn't read it.
He does not hear the door open or Valerie come in.
VALERIE
(crying out to
Mme. Duras)
Why didn't you come to talk to
Dr. Chapelle as you were told
to do before you came here?
Sebastien turns, the clipping dropping from his hand. He looks
at Valerie.
SEBASTIEN
(almost a whisper)
You lied, you liar.
ie
A strange quixotic smile plays over his trembling lips. Then,
all at once, his hand clutches at his chest and his face becomes
distorted with pain.
SEBASTIEN
(gasping)
Oh my God! I can't breathe.
Mme. Duras stands up, terrified, as Sebastien falls into Valerie's
arms.
LATER
Sebastien lies in the bed. On one side of it is the electro-
cardiagram machine, its wires running up under his covers; on
the other, the oxygen tank HISSES, the tube running over to the
bed and mask. But this time, the mask is only over his nostrils.
Marc and Dr. David are beside the bed.
MARC
Relax, Sebastien. It's not
your heart, your heart is
doing fine.
SEBASTIEN
What is it, then?
DAVID
It's an embolism, just a little
blood clot from the operation
that settled in your right lung.
MARC
It happens often after surgery.
DAVID
We're going to dissolve it,
don't worry.
SEBASTIEN
(beat)
Where's Valerie?
VALERIE
I'm here, Sebastien. Don't
worry. Everything will be
Fine. They've given you a
sedative. Try to go to sleep.
SEBASTIEN
I want to know what happened.
DAVID
We told you, fellow, you had
an embolism. Don't worry,
we'll clear it up.
SEBASTIEN
No, that's not what I mean.
I want to know who decided to
Give me De Berthier's heart.
VALERIE
Later, Sebastien. Later. Try
to sleep.
SEBASTIEN
No. Now. I read the newspaper
article before I passed out.
It couldn't have happened the
way they said. I want to know
the truth.
MARC
De Berthier had a brain hemorrhage
at the last moment.
SEBASTIEN
Where was I?
MARC
You were already in the operating
room.
SEBASTIEN
But I wasn't dead yet, was I?
MARC
(laughing)
No. Don't worry, Sebastien;
you haven't come back from the
dead.
SEBASTIEN
(smiles)
That's good. You had me really
scared for a minute.
MARC
So Dr. Talma convinced Maréchal
and the others to reverse the
transplant surgery and give you
De Berthier's heart. Now go to
Sleep.
84.
o5 s
SEBASTIEN
(smiling, looks up
at Valerie)
"An accident victim." You
liar, I knew you did it.
Dr. David and the nurse approach the bed. He holds an injection
needle to which a small vial is attached.
DAVID
(smoothly, as he
bends over the bed)
Now I'm going to give you an
injection, Sebastien. What
I'm going to do is inject this
little tube to the vein in
your arm. It won't bother you
much after the first pinch.
You should be quite sleepy by
now anyway.
SEBASTIEN
What is it?
DAVID
(sitting down on
the bed)
An anti-coagulant to prevent
any further clotting -- to
give your body a chance to let
nature take its course. It's
called heparin.
SEBASTIEN
Let Dr. Talma give it to me.
Dr. David looks up a moment, annoyed. Then he rises and holds
out the injection apparatus to Valerie. Her hand is Shaking as
She takes the needle from Dr. David.
DAVID
Perhaps I'd better do it myself.
VALERIE
No, of course I can do it.
You're sure it's the correct
dosage?
DAVID
(irritated)
Of course it's the correct dosage.
VALERIE
I don't want him having heparin.
86.
MARC
Valerie, what's the matter?
She turns away, desperately trying to recover herself.
VALERIE
Isn't it awfully soon after
Surgery to be giving him this?
Suppose he hemorrhages?
Marc quickly turns to look back at the bed.
MARC
(harshly)
Quiet! Did you want him to
hear that? We've got to dissolve
that blood clot. He could get
another embolism.
DAVID
(nasty to Valerie)
Aren't you getting a little out
of your field? And what have
you got against heparin?
She turns, facing them.
VALERIE
It's nothing. I'm fine.
Valerie sits on the bed, preparing Sebastien's arm for the
injection. Drowsy, he looks up at her.
SEBASTIEN
Putting me to sleep again.
But no tricks. This time I
want to wake up.
VALERIE
Don't talk like that, Sebastien.
Sebastien, even half-asleep, senses her anguish.
SEBASTIEN
I was only joking.
Then, he smiles.
VALERIE
Now what's so funny?
SEBASTIEN
I was just thinking of something.
VALERIE
Of what?
SEBASTIEN
The first words we ever said
to each other: "Hector Berlioz."
VALERIE
(smiling)
"Hector Berlioz."
SEBASTIEN
(whispering)
Yes. Our secret code, only
between ourselves... you and me.
VALERIE
(she, too,
whispers)
Fine. But then don't you think
you'd better tell me what it
means?
SEBASTIEN
You already know.
VALERIE
Do I?
SEBASTIEN
It means "I love you... Hector
Berlioz."
VALERIE
"Hector Berlioz."
She injects the needle into his arm.
SEBASTIEN
That didn't even hurt. It felt
good because you did it. Now
I'll go to sleep and dream.
Would you care to join me?
Perhaps we could even dream
together.
VALERIE
Of what shall we dream together,
Sebastien?
SEBASTIEN
We'll gather lilies-of-the-valley,
like in the first song... the
record you brought me... my one
and only record... when spring
comes...
87.
88.
VALERIE
Dream of that Sebastien.
SEBASTIEN
Yes, I think I will... Because
I think I will see another
spring... Goodnight... my one
and only... you wonderful,
beautiful liar.
CUT TOs
INT. HOSPITAL CAFETERIA - DAY
Bright early morning sunshine pouring in through the large
windows. Drs. Levéque and David push their trays along the
food counter.
LEVEQUE
Four francs for bacon and eggs.
I think I'll just take some
porridge. I don't like a heavy
breakfast. But don't let me
influence you. Have whatever
you want. It's my treat.
DAVID
(to server who is
handing Levéque
her bowl)
I'll take porridge too, please.
They breakfast together at a table by one of the large windows.
DAVID
His breathing is completely
normal this morning. She sat
with him all afternoon and all
last night. They told me that
when I checked on him this
morning.
LEVEQUE
Dr. Talma's vigil, eh?
DAVID
The night nurse told them she
was taking blood samples from
him all night. She must have
a hemorrhage phobia. He won't
have enough blood left to
hemorrhage with!
oo.
LEVEQUE
It's funny. The boy got the
heart in the first place because
the man who was to receive his
kidney hemorrhaged in the operating
room. Almost a franc for this
rotten swill they call coffee here!
DAVID
One thing I can tell you. She's
got Chapelle under her little
finger.
LEVEQUE
Do you think they're lovers?
DAVID
How should I know? They tell
me she's taken no new cases.
LEVEQUE
That's good. The boy seems
quite dependent on her.
DAVID
I'll say! You didn't see the
act he put on about only her
Giving him the heparin injection.
LEVEQUE
It's purely sexual. It occurs
very often in heart transplant
cases. There is a measurable
increase in sexual activity,
even in older men who hadn't
had the urge for years. So you
imagine... a young man who's
probably still a virgin... feeling
for the first time intense sexual
drives. In fact, later on,
sexual activity increases the
amplitude of the heart just as
exercise does. Now it's obvious
this isolated young man should
settle on Dr. Talma rather than
on me, for instance. But I hope
She doesn't take it too seriously.
CUT TOs
INT. RECOVERY ROOM - DAY
Sebastien stirs in his bed. He no longer has the oxygen mask.
(CONTINUED)
CONTINUED:
He sits up and smiles. Valerie is asleep, curled up in the
chair.
SEBASTIEN
"Hector Berlioz."
She opens her eyes and smiles.
VALERIE
"Hector Berlioz."
SEBASTIEN
You must be exhausted, sitting
up with me all night.
VALERIE
No, seeing you well again, I
feel fine.
SEBASTIEN
That heparin did the trick.
I can breathe again.
VALERIE
Your breathing returned to normal
during the night. You don't
remember me removing the mask.
And your blood samples are fine.
SEBASTIEN
So that was you pinching my arm.
VALERIE
You didn't feel a thing. Stop
teasing. You were fast asleep.
Did you have pleasant dreams?
SEBASTIEN
Just as I said I would, I dreamed
the song. We were gathering
lilies-of-the-valley, together in
the woods, just like the first
song says. You and me.
VALERIE
How lovely!
SEBASTIEN
Then we lay down on the mossy bank
and made love. You're pooped.
(MORE)
90.
SEBASTIEN (cont'd)
Look at you!
(moving over on
the bed)
Come over here and lie down
beside me.
VALERIE
Do you think it's proper for a
doctor to lie in
patient?
bed with her
SEBASTIEN
If the doctor's tired from
Sitting up with the patient
all night, why not? If you
don't think so, you can lock
the door first.
VALERIE
Silly. There are no locks on
hospital doors.
SEBASTIEN
This one's got a
already checked.
lock. I've
Come on, just
for a little while. I won't
let you breathe in my face.
Okay?
91.
Valerie gets up and walks toward the bed as Sebastien, turning
around, arranges the two pillows side by side.
SEBASTIEN
Lock the door first. Go on.
She obeys. Turning back, she goes to the door and locks it.
They lie together, quite separate, each on his pillow.
Sebastien turns his head to her.
SEBASTIEN
Give me a kiss.
VALERIE
Stop that. You're behaving like
a child. Besides, you know you're
not allowed to kiss anyone yet.
And if you don't
behave yourself,
lie still and
I'll get up.
He turns back, staring up again at the ceiling.
SEBASTIEN
"Twenty Questions?"
Then,
VALERIE
Twenty Questions.
SEBASTIEN
What are you wearing under
that
awful green gown you've got on?
VALERIE
Three guesses.
SEBASTIEN
A clown's costume?
VALERIE
Wrong. Try again.
SEBASTIEN
A sailor's suit?
VALERIE
Wrong again. One more try.
SEBASTIEN
Now... this takes a lot of
thinking... a prison uniform?
VALERIE
You give up? A shirt and trousers.
SEBASTIEN
Okay. Now we reverse the
question. You ask me what
wearing under this blanket.
VALERIE
I know what you're wearing.
Nothing.
SEBASTIEN
I'm
SO, you've been peeking, have you?
No wonder I dreamed what I
did.
There is a few moments silence. Then Sebastien's
Slightly tremulous and husky.
SEBASTIEN
Well, since you've obviousl
y
already seen all... it's warm
under these covers.
With his feet he throws the covers off.
waist as Valerie does.
VALERIE
We never
Yes, Sebastien, you are beautiful.
92 a
voice is
see below his
She turns over on to her side, bends across hin,
SEBASTIEN
Even with the cross I carry on
my chest?
23»
and kisses
the scar at its mid-point at the center of Sebastien's chest.
Then, propped up on her elbow,
body he has candidly disclosed to her.
ceiling.
SEBASTIEN
At least it stops at my belly-
button. Below there, everything's
as it should be, do you agree?
VALERIE
I agree.
Now he turns and looks at her.
SEBASTIEN
It was not like this before.
You see, what's happening to
me now never used to happen
before. I'm not ashamed, though,
because I love you. But now I
hurt in another way, and somehow
it's as painful as before.
VALERIE
But this is an ache that can
easily be cured.
She kisses him all over.
SEBASTIEN
Oh my darling...
His hands reach down, caressing her hair.
He pulls hers up beside him.
SEBASTIEN
(continuing)
No. Only when you're like I
am. I love you too much.
VALERIE
I loved you the minute I saw you.
SEBASTIEN
I want to be looking at you when
it happens.
She looks down candidly at his
He stares up at the
Her eyes are filled with tears.
94.
She lowers her head beside him, lying on her side, her head
a little below his, so her hand can reach down. He stares
into her eyes, a tense smile on his lips, his eyes open wide,
like once before -- only then it was death; now it is love.
Then suddenly, his voice wrenched with pleasure:
SEBASTIEN
I don't give a damn! I don't
give a damn!
He buries his mouth in hers.
CUT TOs
INT/EXT. CAR - DAY
Valerie's red Peugeot station wagon crosses the Pont Alexandre III
to the Left Bank. In the distance, the dome of the Invalides is
rose-colord in the morning sun. Marc drives; Valerie sits in
the front with him. Their single passenger is Sebastien in the
back wearing a gauze mask over his mouth and nose. After crossing
the bridge, the wagon continues along the Avenue Maréchal
Galliénni; straight toward the Invalides and its exquisite dome.
INT. THE INVALIDES - DAY
The interior of the flag-draped, pillared Church of St. Louis
des Invalides. Valerie and Sebastien, hands entwined, stand
midway in the aisle. She wears a stylishly fitted fur coat and
matching fur hat. His coat is draped over his arm. His well-
tailored suit (a gift from Valerie) is dark blue. They make a
stunningly beautiful couple. The gauze mask he wears, even
adds to the glamorous appearance. He gestures animatedly with
his free hand.
SEBASTIEN
Can you imagine how the "Requiem"
must have sounded in here!
Especially the "Tuba Mirum"!
He looks above to the lofts in the arches which form a balcony
on each side of the church. Valerie follows with her eyes.
SEBASTIEN
(continuing)
He had four brass orchestras
up there, one in each corner.
Like a god, he called them the
orchestras of the north, east,
south, and west.
oe
He points above to the left corner of the church, the one
nearest the altar.
SEBASTIEN
(continuing) ,
There! There was the orchestra
of the west!
From the empty corner loft, MUSIC -- the opening fanfare of the
"Tuba Mirum."
SEBASTIEN
(continuing; from below)
There! Orchestra of the north!
The empty loft nearest the entrance. From the empty space
more BRASSES answer the call.
SEBASTIEN
(continuing; from
below, shouting)
Orchestra of the east! Next!
Joining in the sound, more BRASS.
SEBASTIEN
(continuing)
Orchestra of the south!
Orchestra of the south!
The south loft. Still more BRASSES join the gigantic flourish.
The empty church reverberates with the wind and brass fanfares
of the "Day of Judgement," as the music reaches its awesome
climax.
They come out of the door of the Church of St. Louis and into
the Court of Honor.
SEBASTIEN
I never told you I play the
guitar, did I?
VALERIE
No. Really?
SEBASTIEN
Just like he did. It was the
only instrument he knew how to
play.
VALERIE
You must play for me!
96%
SEBASTIEN
I'll ask her for it tonight
when I call about my books.
They walk through the archway leading out from the Court of
Honor, and down the cobbled road toward the gate.
VALERIE
I think you've been out long
enough.
SEBASTIEN
Are you kidding? I feel wonderful!
CUT TO:
EXT. MONTMARTRE CEMETERY - LATER THAT AFTERNOON
Sebastien, Marc and Valerie stand in front of the black marble
gravestone of Hector Berlioz in the Montmartre Cemetery.
SEBASTIEN
I never expected to see this
place again. I thought I'd be
here permanently.
Marc puts his arm around Sebastien's shoulder.
MARC
Now we'll go back to the hospital,
okay?
SEBASTIEN
Okay.
He turns with Marc. Then he turns back again to the grave.
SEBASTIEN
Just a minute.
Stooping down, he picks something up from the ground over the
grave. Then he turns to Valerie and Marc.
VALERIE
What's that, Sebastien?
He holds out his hand to show her.
SEBASTIEN
Just a stone from the grave.
For good luck.
He slips it into his overcoat pocket.
(CONTINUED)
97»
CONTINUED:
The narrow cobbled roadway flanked by gravestones. Sebastien
walks between Marc and Valerie. Marc and Valerie each have an
arm around him; their arms cross on his back. Sebastien, him-
self, has an arm around each of them.
Ur 2s
INT. MME. DURAS' APARTMENT - DAY
Mme. Duras, in the living room of her threadbare apartment, talks
on the phone. INTERCUT to Sebastien in his room at the hospital.
MME. DURAS
I'm all right. It's justa
terrible cold that I caught,
and there's not enough heat,
as usual.
(she listens)
And now I won't be able to
come and see you!
(again, she listens)
I know you're sorry.
She sniffles, frowns, looking down at the handkerchief.
MME. DURAS
(continuing)
Out of the hospital? Where
did you go with her?
SEBASTIEN
You would approve, mother.
Valerie and I went to church.
But don't worry; we didn't get
married! It was a test run,
mother, and a great success.
Now I'll tell you the real news.
They're springing me next week
for Christmas. And if all goes
well, maybe for good!
MME. DURAS
Next week? But where will you go?
SEBASTIEN
Valerie and Marc are taking me
to her house in the country at
Malesherbes.
MME. DURAS
It will be your first Christmas
without your mother.
SEBASTIEN
(he sighs)
I know, mother. I'll miss you.
But what can we do?
(winking at Valerie)
I guess I'll have to go...
"Hector Berlioz."
Valerie mouths "stop that" and shakes her head at hin,
can't stifle a smile.
SEBASTIEN
Nothing, mother. That's just a
code word we use here at the
hospital. Listen, if everything
goes well in the country, I may
Stay there for a while.
(listens)
Of course Dr. Levéque approves.
I'd like to take some of my books
with me. Books can be sterilized,
you see.
75 «
but she
Mme. Duras dabs at her nose and tear-filled eyes with the
bespotted handkerchief.
SEBASTIEN
(continuing)
Someone will come from the
hospital tomorrow to fetch
them. Okay? I've made out a
list. And my guitar too.
MME. DURAS
(choked)
Sebastien. Sebastien, I'm
sorry. You can't. I'm sorry.
SEBASTIEN
What do you mean, mother? Why
not?
MME. DURAS
Because I gave everything of
yours away to the church the
day they took you to the hospital.
Sebastien, I'm sorry. You've got
to understand.
Suddenly, all the wind is out of his sails. Valerie has come
to the bed. She looks down at him, concerned.
SEBASTIEN
That's okay mother. I understand.
What else could you expect?
99
He looks grim and dejected as he puts down the phone.
CUT TO:
INT. DR. LEVEQUE'S OFFICE - MORNING
Dr. Levéque's office, where she maintains her private practice.
The furnishings are antiseptic, avant-garde moderne. Mme. Duras
Sits in a hard uncomfortable chair, much too small for her,
Opposite Dr. Levéque at her desk.
LEVEQUE
You shouldn't be out with such
a cold.
MME. DURAS
I know. I know.
She wipes her nose with a handkerchief.
MME. DURAS
(continuing)
But I had to come to see you.
You gave my son permission to
go away to the country with
Dr. Talma?
LEVEQUE
Yes, I did.
MME. DURAS
I see.
LEVEQUE
Is that so bad?
MME. DURAS
Well, I don't like the idea.
LEVEQUE
Let's be practical for a moment...
Sebastien cannot live with you in
Paris at this point, and Dr. Talma
has a place for him where he will
be safe. Don't you want what's
best for your son... as a mother
should?
MME. DURAS
But she had it in mind all the
time.
(MORE)
MME. DURAS (cont'd)
She's made him think she gave
him the new heart and saved his
life. And now, out of gratitude,
he thinks he's in love with her.
LEVEQUE
(leaning forward,
interested)
Your son told you he was in
love with Dr. Talma?
MME. DURAS
Yes he did.
LEVEQUE
You must realize that your son's
personality has changed. Previously
he was an invalid; but now he is
suddenly unexpectedly healthy.
Because of this dramatic change,
he has undergone a similar change
in his perception of himself. Do
you understand what I'm telling
you, Madame Duras?
MME. DURAS
One thing I understand. There's
something wrong with him now.
LEVEQUE
The steroids often produce a
general euphoria and a slight
confusion. That's a side effect
from the drugs that can't be
helped.
(beat)
As for his being in love with
Dr. Talma.
MME. DURAS
(emphatic)
And she with him.
LEVEQUE
That comes as news to me. But
that often happens after a
heart transplant, especially
in a young man like your son.
(she smirks, talking
almost to herself)
That's very interesting... I
thought for certain she and
Chapelle were lovers.
(MORE)
100.
She laughs.
She laughs at
LEVEQUE (cont'd)
Well, sexual activity increases
the amplitude of the new heart,
just as exercise does. So
perhaps he'll get more out of
the country than fresh air.
MME. DURAS
Monstrous. Monstrous.
LEVEQUE
(looking up with
a jerk)
What's monstrous? This is the
twentieth century, Madame. If
it weren't, your son wouldn't
even be around to fight over.
her own joke.
MME. DURAS
You took away the heart of an
angel and gave him the heart
of a dead man. Monstrous. A
sacrilege. A blasphemy against
God and nature.
LEVEQUE
The heart is a pump, Madame Duras,
nothing more.
MME. DURAS
Every morning when I go down to
the street -- yes, the street
that is no longer pure enough
for my son -- I look up the hill
of Montmartre and I see a
beautiful white church towering
above me. Do you know what it
is called? "Sacre Coeur." The
Sacred Heart of Jesus. Was His
heart, too, only a pump, Dr.
Levéque?
LEVEQUE
(taken aback)
I'm not here to argue religion
with you, Madame Duras.
MME. DURAS
Monstrous.
eis
LEVEQUE
(angry)
Is that all you can Say,
Madame Duras?
MME. DURAS
I'm starting to think you doctors
had no right to do what you did
to my son. I'm starting to think
there's something unwholesome in
what you did, something I am not
able to understand, perhaps, but
I feel it.
LEVEQUE
All right, Madame. But if his
body rejects the heart you say
we had not the right to put in
him, your son will die.
MME. DURAS
(almost shouting)
Then I would rather have a dead
son, an angel whom I will see
again in Heaven, than alive and
condemned to Eternal Damnation.
LEVEQUE
Then you can pray for his soul
as you did before; because no
matter what we do, it won't be
so very long. We don't usually
talk this way to the family.
They need faith. But I see you
already have yours. Because no
matter how hard we fight, sooner
or later the body will identify
the transplanted heart and cause
it to wither and die. Since we
don't know the reasons, yours are
as good as any. What we do,
whether you approve of it or not,
is just stall, playing against
death for time.
(beat)
It's a sad game, Madame Duras,
for whether we play it by our
rules or yours, the outcome is
always the same. We lose. Nature,
Or whatever you choose to call it,
takes its course.
She rises from her desk.
102.
LO3«
LEVEQUE
(continuing)
I'm tired of talking, Madame
Duras. You'll have to go home
now.
MME. DURAS
Yes, Dr. Levéque. I see that
perhaps the thing for me to do,
then, is to do nothing.
CUT TOs:
EXT. HOSPITAL ENTRANCE - MORNING
Sebastien comes out the doors with Marc and Valerie. He is
bundled up in his new winter coat, collar up, with a scarf
around his neck and a white gauze mask covering his nose and
mouth. Marc carries a suitcase in each hand, and Valerie has
a small pile of records under one arm. Behind them, two hospital
attendants wheel out an electrocardiagram machine on a dolly.
Valerie holds the back seat door open for Sebastien.
SEBASTIEN
(bending to get in)
I can't figure out what happened
to my good luck stone. It was
in the drawer. I'm sure of it.
VALERIE
Don't worry. It will turn up
when they clean the room.
SEBASTIEN
Do you think I should go back
and look some more?
VALERIE
I swear to you, you'll have
your stone.
She shuts the door. On the other side, Marc is getting in behind
the wheel. Quickly Valerie gets in front beside him, slams shut
the door, and the car starts and moves away.
INT. CAR - DAY
The station wagon is on a straight open country road. Sebastien
rolls down the window and throws out his white gauze mask, which
blows upward, soars in the air for a brief moment in the wake of
the speeding car which is getting smaller and smaller in the
distance and then slowly settles earthbound.
(CONTINUED)
CONTINUED:
The car turns off the tree-lined country
to the villa.
Marc's smile is reflected in the driver's mirror.
Sits back as Valerie turns forward again.
Valerie turns
VALERIE
(turning back to
Sebastien)
Here we are, Sebastien.
SEBASTIEN
(agog)
That's your house?
VALERIE
(smiling)
Yes, that's it.
SEBASTIEN
It's beautiful!
VALERIE
I'm glad you like it.
SEBASTIEN
(leaning forward)
Don't go so fast, Marc.
104.
road into the driveway
Let
me enjoy my arrival as long as
possible.
SEBASTIEN
(continuing; half
Singing)
Sebastien
Then we'll go home together,
happy.
MARC
What's that, Sebastien?
SEBASTIEN
Just a song.
to Sebastien, smiling.
SEBASTIEN.
(continuing; looking
at her)
"Hector Berlioz."
MARC
Of course.
LOD «
VALERIE
"Hector Berlioz."
Emile waves from the veranda, the front door open behind him.
Valerie gets out of the car, and standing at the bottom of the
veranda steps, she talks with him. He smiles and shrugs his
Shoulders. Then he comes down the steps, waves inside to them
in the car as he passes, and ambles away.
Valerie signals them to come and climbs the veranda steps.
Marc opens his door. Sebastien leaps out of his side, and in
one flying jump, he is with Valerie laughing on the veranda.
Arms entwined, the two of them go inside. Marc, below, opens
the rear compartment and begins to remove the suitcases.
INT. KITCHEN - DUSK
Valerie wears an apron while she stirs a steaming chafing dish
atop the stove. Then she covers it, and kneeling down, opens
the oven door. The heat rushing up reddens her face as she
bastes the goose inside. Then, quickly she shuts the oven,
rises, and goes to the sink where she washes her hands. Shutting
off the faucet, she looks out the window over the sink and she
Smiles.
VALERIE'S P.0O.V:
Sebastien and Marc are coming out from the woods bordering on
the meadow behind the house. Between them they carry a large
pine tree on their shoulders. Sebastien, with his free hand,
Swings the axe in the rhythm of their stride. Occasional flakes
of snow are beginning to fall in the late afternoon winter light.
INT. STUDIO - CHRISTMAS EVE
Valerie and Mare sit listening to Sebastien who sits on the floor
below them, playing and singing "The Shepherd's Chorus." He
wears a white turtle-neck sweater. A beautiful gold link chain
around his neck holds the black stone from the Berlioz grave in
the center of his chest. The shiny new guitar he plays still
has the red Christmas ribbon on it. A beautifully decorated
pine tree is set up in front of the enormouse rear studio window.
The tree's candle-lit boughs reach all the way up, almost to the
beamed cathedral-like ceiling. The tree is framed by the view
outside, which is illuminated by the flood lights on the patio.
Heavy flakes of snow, accentuated by the beams of light, are
covering the patio stones white.
Valerie pours coffee from a silver pot. She listens and drinks.
Marc listens, sipping brandy; blowing gentle clouds of smoke
from his cigar.
(CONTINUED)
106.
CONTINUED:
Everything seems to be in perfect balance. Among the plants
on the casement is the hibiscus, the only one in a wooden tub.
An enormous flower is about to open, its deep red velvet petals
unfolding around a brilliant silky yellow stamen.
INT. HALL - NIGHT
The upstairs hall, dimly lit by a small night lamp on a table.
The door of Sebastien's bedroom slowly opens halfway. Sebastien,
wearing only his yellow silk robe, softly shuts it behind him as
he noiselessly walks past Marc's room. Sebastien crosses the
landing and stands in the open double doorway of Valerie's room.
Valerie sits up in her bed. Naked, in the vermillion shadow of
the room, she calls to Sebastien in the doorway.
VALERIE
(whispering)
Sebastien?
SEBASTIEN
Yes.
He enters. Slowly, he swings the double doors shut behind him.
Marc, in pajamas, stands in the shadow inside his bedroom at his
door, slightly ajar. Closing it the rest of the way, he turns
back to his bed.
INT. STUDIO - DAY
The studio window with the hibiscus in full flower. Marc stands
looking out. On the patio, Valerie and Sebastien play in the
Snow like children. They have made a snowman. Sebastien has
put a cap on its head and tied his scarf around its neck. Now,
using pebbles from the driveway, he is affixing a large cross
on its chest as Valerie watches admiringly. Then she kisses the
cross in the center of its chest. When she Sstraightens out,
Sebastien is convulsed with laughter. An icy pebble has stuck
to her forehead. A large cloud shuts out the sun and the wind
blows up. Marc raps on the window and motions for them to come
inside. They throw snowballs at each other as they come.
The snow melts, the pebbles of its cross falling off piece by
piece. The red hibiscus flower, fading, withers, it falls to
the soil in the wooden tub. Outside on the patio, rain pours
down in torrents.
LO Fx
INT. SEBASTIEN'S ROOM - DAY
Valerie sits on Sebastien's bed listening to his chest with a
stethoscope. Behind her the rain pours on the window. The
scar 1s perceptibly lighter, but his face is slightly puffy and
moon-sShaped.
VALERIE
(folding up the
stethoscope)
Perfect! You're absolutely
perfect and normal, my darling!
You've got to believe me; it's
the cortisone. We'll discuss
it with Levéque. Maybe she
can reduce the dosage.
SEBASTIEN
Do you love me?
VALERIE
Of course I love you. Now let's
go downstairs and do our
exercises.
SEBASTIEN
(reaches up to her)
First, our ones up here.
There is something fierce about the way he pulls her down upon
him.
INT. DOWNSTAIRS - DAY
A veritable gymnasium downstairs in the villa. Sebastien,
wearing only gym shorts, is astride the exercise bicycle.
Attached to his chest, wrist, and ankles are the wires of the
electrocardiagram machine. Marc is monitoring this stress-
level test. Sweating profusely, teeth clenched, Sebastien pedals
furiously, showing no intention of stopping, though he breathes
laboriously under the strain. Marc smiles approvingly at his
patient's dogged determination.
MARC
Okay, Sebastien. You can stop
now.
Sebastien, breathing laboriously, looks at Marc and smiles.
MARC
(continuing)
That's enough! You pass with
flying colors.
108.
SEBASTIEN
(trying to catch
his breath)
No rejection signs?
MARC
Not a one!
SEBASTIEN
Why would I reject what I need
to keep me alive?
MARC
(noncommittal, as
he shuts off the
machine)
Well, sometimes it happens.
But you and he were such a
terrific blood and tissue match...
Marc removes the cups and wires from Sebastien on the bicycle.
Sebastien,
MARC
(continuing)
Usually it goes this way.
Someone has an accident. Their
brain dies. Someone else is
waiting for a new heart and
gets that heart whatever kind
of match.
getting off the bicycle, wipes the sweat and lubricant
off his arms, chest, and legs, with a towel.
MARC
(continuing)
Beggars can't be choosers.
SEBASTIEN
No, they can't. That I know
well.
MARC
That was why their bodies
eventually rejected the heart.
But with you and De Berthier,
the match was near perfect.
Sebastien lies on a mat on the floor, stretching and relaxing
his muscles.
SEBASTIEN
I wish you'd tell that to Levéque.
(MORE)
L109.
SEBASTIEN (cont'd)
She keeps stuffing me full of
drugs. Look what it's doing
to my face.
MARC
I don't see anything wrong with
your face.
SEBASTIEN
Come on, Marc. Stop pretending.
I do. Every time I look in the
mirror... And it has other effects.
MARC
Such as?
SEBASTIEN
It affects my mind.
MARC
Now look who's pretending!
SEBASTIEN
No, it does. It really does.
Sebastien goes to the wall and works with the weighted pulleys.
MARC
How does it?
SEBASTIEN
Sometimes the drugs make me
depressed and then I begin to
doubt that Valerie really loves
me.
MARC
(troubled and
uncomfortable)
I don't understand what you
mean, Sebastien.
SEBASTIEN
De Berthier and I were such a
terrific match is why I am
going to make history.
MARC
(smiling)
That's right, Sebastien.
Sebastien, his back still to Marc, holds the pulley tensed with
all his strength and the strain of it is in his voice.
110.
SEBASTIEN
Okay. And it was all because
there was time to arrange such
a terrific match, right?
MARC
Yes, that’s right.
He lets go and the pulley springs back with a startling crash
as Sebastien, spinning around, faces Marc who has Jumped, thrown
off guard by the noise.
SEBASTIEN
You forget! Everyone forgets!
Everyone! Even Valerie!
Especially Valerie! MThe terrific
match was for De Berthier. He
was to get my kidney because I
was scheduled to die that day.
His face shows all the pain of a terrible perplexity.
SEBASTIEN
(continuing)
Yet she says she loved me from
the moment she saw me. If she
loved me so much then, if she
loved me as much as I love her
now, how could she have just
watched me die?
Sebastien waits in vain for the answer to his question.
EXT. THE POND - DAY
Dense fog hovers over the water. The stag stands like a statue
at the spring, listening. The villa too is enveloped in the fog.
INT. STUDIO - DAY
Inside, Sebastien sits on a couch in the studio. The MUSIC
coming from the phonograph is appropriate to the weather, the
fifth song of "Nuits d'Eté," "At the Cemetery." Sebastien's
face is yet a little more swollen. Absently, he lets the letter
he holds in his hands fall into his lap. He stares vacantly
into space.
Valerie lights the enormous fireplace, at the hearth of the
living room, adjacent to the studio. An inviting-looking quilt
is spread out on the floor in front of the fireplace, and as
the flames begin to crackle against the doleful music coming
from the studio, she rises.
(CONTINUED)
1il.
CONTINUED:
Smiling and taking two puffy pillows from a sofa, she kneels
again, carefully arranging them on the guilt for two heads
resting very close.
Valerie quietly enters the studio. She pauses at the door,
looking at him with concern. Then she comes into the room.
VALERIE
There's a fire in the living
room. Put the music on louder
and we can hear it from there.
He looks up at her. Sebastien's smile is wan.
VALERIE
Is your mother's letter annoying
you?
SEBASTIEN
No, it's the usual stuff. Only
now she wants to see her fallen
angel.
VALERIE
Would you like her to come?
It might be a good idea.
SEBASTIEN
Would it?
She lowers the music.
SEBASTIEN
(continuing;
peevishly)
I thought you wanted the music
louder, not softer.
VALERIE
I want to talk with you, darling.
May I?
SEBASTIEN
(lowering his eyes
from her)
I don't like to talk above
music.
VALERIE
Then may I shut it off a minute?
SEBASTIEN
Do whatever you like.
1i2.
She presses the "reject" button.
VALERIE
Let's ask Levéque about your
mother. If she says it's okay,
why not let your mother come
out?
SEBASTIEN
(looking up)
We ask Levéque everything these
days, don't we? We don't make
a move without Levéque, do we?
She sits beside him.
VALERIE
The first six months she's
important to us darling. We
have to do what she says.
SEBASTIEN
(choking)
And soon I'll look like the
man in the moon.
She turns to him, reaching for his hand.
SEBASTIEN
(very quietly)
We have to do what she says.
Is that why you make love with
me now... It's part of the
treatment, isn't it?
She takes him in her arms. He begins to cry. She kisses his
face, his closed eyes, his ear, his nose, mouth and chin. Then,
she rests her head on his chest. His fingers caress her face.
SEBASTIEN
(continuing)
I'm sorry. I didn't mean it.
VALERIE
(whispering)
I know. "Hector Berlioz."
SEBASTIEN
(sniffling and
laughing at the
same time)
"Hector Berlioz."
L135 «
The back side of the album cover is next to them on the chair.
Emile Signol's portrait of the young Berlioz.
SEBASTIEN
Remember you asked me if I had
ever been to the Dauphiné where
he was born?
VALERIE
I remember.
SEBASTIEN
Then you told me I should go
there, and you looked miserable
because you had forgotten I was
about to die.
VALERIE
Yes, I remember.
INTERCUT - POND/STUDIO
At the spring, the stag stands in the fog; his head up, immobile;
but his ears quivering, listening.
SEBASTIEN
Let's go there, Valerie. I
want to go away with you where
no one can ever find us. No
one -- not even Marc.
VALERIE
It's really winter there in the
Alps.
SEBASTIEN
But beyond the Alps, is the
midi. So if spring won't come
to us, we'll find the spring
ourselves. Let's leave tomorrow.
VALERIE
Tomorrow I take you to Paris
to see Levéque.
The stag suddenly flees into the forest.
INT. LEVEQUE'S OFFICE - AFTERNOON
CUT TO:
Sebastien, bare-chested, sits on the examination table.
(CONTINUED)
114.
CONTINUED:
Dr. Levéque, in a white doctor's coat, bends over him, a gauze
mask over her mouth. She takes his blood pressure. Sebastien
looks impatient and annoyed as she deflates it, and inflates
and deflates it several more times, peering at the indicator.
Finally, she ceremoniously unwinds it from his arm.
LEVEQUE
All right, Sebastien. You
can get off and put on your
Shirt now.
Sebastien deftly jumps down as though he were dismounting from
the exercise horse in the gymnasium at the villa. Every motion
seems to be an effort to demonstrate strength and vitality, and
pitifully overdone. The cocky athletic poses do not become him,
and even more SOwith his puffy face. Valerie has risen from
the chair and she hands Sebastien his shirt. Sebastien is
putting on his shirt.
SEBASTIEN
Okay. Am I rejecting?
LEVEQUE
No, not at all.
He uses more force than is necessay for the simple act of opening
his trousers and tucking in his shirt as Levé€éque comes out from
the alcove. His shirt gets caught in the zipper of his trousers,
and he almost breaks the zipper trying to free it.
LEVEQUE
You do your exercises every day?
SEBASTIEN
Yes. Morning and evening, just
as you prescribed.
LEVEQUE
Good.
(she looks at
Valerie)
Too bad we can't have him
Swimming every day as well.
That would be the best exercise
of all for him. But of course,
it's not possible because he'd
have to have his own pool all
to himself.
VALERIE
If you think he should swim every
day, I can have a pool built in
the cellar.
Sebastien looks at her, incredulous.
Sebastien,
utterly ashamed and embarrassed,
LEVEQUE
No, no, Dr. Talma. It's not
that important. Just a thought.
(turning back to
Sebastien)
Do you pick your nose or
bite you nails?
SEBASTIEN
(appalled at the
question)
God no! Of course not.
LEVEQUE
Good. That's dangerous. We
don't want any infections.
How often are you having sexual
relations?
SEBASTIEN
I'm not going to answer that
question. That's personal.
LEVEQUE
I cannot treat you when you
don't cooperate with me.
VALERIE
(very quietly)
Usually once, occasionally
twice a day.
LEVEQUE
I see.
eS
lowers his head.
Levéque makes much ado about entering a notation in the folder.
She looks up at Valerie, ignoring Sebastien as if he were Just
a child, sitting across from her,
LEVEQUE
Still, I'm still a little
concerned about the risk of
infection while he's undergoing
this immuno-suppressive therapy.
And his blood pressure is a
little high.
(to Sebastien)
Is something bothering you?
SEBASTIEN
Yes. If you really want to know
what's bothering me, just look
at my face.
looking at the floor.
116.
VALERIE
I tell him he exaggerates the
swelling all out of proportion.
I've threatened to throw out
all the mirrors. I also tell
him it will go away when the
dosage is reduced.
LEVEQUE
He's a very vain young man,
you see.
SEBASTIEN
(brought down)
But didn't Dr. Chapelle tell
you how well I did on the last
stress-level test?
LEVEQUE
Yes, it was excellent.
SEBASTIEN
(pleading)
Then can't you reduce the
dosage, just a little?
LEVEQUE
I'm asking you again if you
want me to continue to treat you.
VALERIE
Of course he does. He's upset
over nothing.
LEVEQUE
Be thankful you show no signs
of rejection. After your next
stress-level test, Dr. Chapelle
and I will decide how to continue
your treatment.
VALERIE
His mother would like to come
out to see him.
Levéque smiles and gets up from her desk.
LEVEQUE
His mother? You don't say. Not
yet. No new people.
SEBASTIEN
(sour)
"Something good in everything bad."
Ch
INT. WAITING ROOM - DAY
The empty waiting room. Valerie hands Sebastien a fresh gauze
mask in its unopened sterile wrapper. He tears it open and
puts it on.
SEBASTIEN
(rasping through
the gauze)
I can see whose side you're on.
He takes his coat from a hanger and turns away from her when
she tries to help him into it.
SEBASTIEN
(continuing; his
back to her)
I hope you already have
another customer in mind for
the heart.
He walks away from her to the door. She grabs her coat off
the hanger. Holding it in her arms, she rushes out after him.
CUT TO:
INT. VALERIE'S BEDROOM - AFTERNOON
Valerie sits huddled on her red velvet bedspread. She talks
on the telephone. Her eyes are red and swollen. She cradles
the phone against her cheek.
VALERIE
Marc, thank God I caught you!
Marc, you've got to come out
here right away. No... I know...
of course I realize that! Don't
you think I realize that? Would
I ask you if it weren't urgent?
He's very bad... I don't know...
It's the depression. Terrible...
And Marc, his face. I'm getting
worried now about the way his
face looks... Of course I spoke
to Levéque. No, she won't reduce
the dosage, though sometimes I
think it would be better to do
what he wants... Of course I
know that! Marc, we can talk
when you come; I've got to go
out and find him.
(MORE)
118.
VALERIE (cont'd)
I took the mirrors down and he
went into a rage. I shouldn't
have done it; it was a mistake.
He just tore out of the house.
It's cold and windy outside and
he didn't even take his coat.
I watched him from the window.
He ran down the front meadow
toward the pond... No, please
don't call back. I won't be
here; I'm going right out now
and look for him. Just come.
Marc, if I ever needed you, I
need you now.
She hangs up the phone, rising from the bed. She runs out the
front door, holding Sebastien's coat in her arm. She dashes
down the veranda steps, her head bowed down into the blowing
wind.
EXT. POND - DAY
Sebastien stands at the pond, his face mirrored in the water.
SEBASTIEN
Mirror, mirror, in the pond,
who's the ugliest moonstrosity
of all? That freak of nature
looking up at me. Me, that's
who. A sight for sore eyes.
That's the wrath of God you're
looking at. Throw a stone at
Lt afd kill ites.
A stone drops into the water and the face becomes blurred and
indistinct.
SEBASTIEN
(continuing)
There!
But the concentric circles widen as the water calms again.
SEBASTIEN
(continuing)
Oh look, it's back again. You
just can't get rid of the damned
thing, can you! And neither can
She, mirrors up or mirrors down.
And she tells it she loves it...
(MORE)
Laos
SEBASTIEN (cont'd)
Liar! She never loved you,
Stupid. She pitied you, that's
all. She pitied you enough in
the hospital to put you to sleep
and out of your misery when you
begged for it, but that's all.
Or else, how could she have
stood there and watched you die?
And now, look down at that ugly
sickly disgusting moon-face and
tell yourself she loves you.
Tears roll down his cheeks.
SEBASTIEN
(continuing)
There's one way to get rid of
that face, if you've got the
nerve, little man-in-the-moon.
He stands up and lifts his sweater off over his head. The wind
blows it out of his hands. Then he begins to unbutton his shirt.
VALERIE
Sebastien! Sebastien!
He stops and turns around away from the pond. His face has a
Curious quizzical smile as he looks at Valerie frantically running
toward him through the trees.
Submissively, he lets her wrap him in his coat.
Beside the reflection of the moon, his yellow sweater floats in
the water. They walk back through the tree trunks, their hands
entwined.
INT. VALERIE'S BEDROOM - NIGHT
They lie on the velvet spread. Sebastien wears his yellow robe.
SEBASTIEN
You really didn't want me to
ao it.
VALERIE
How could I want you to do it
when I love you more than
anything in the world. Why did
you do it, Sebastien? We must
be honest with each other. We
must withhold nothing from each
Other.
SEBASTIEN
Then you must be honest with me
if I tell you what made me do
it. Marc knows.
VALERIE
(hurt)
Marc knows?
SEBASTIEN
Yes, Marc knows I was afraid
you didn't love me.
VALERIE
(a little louder)
Because of your stupid face?
SEBASTIEN
(he smiles)
You see, I was right.
VALERIE
(she does not smile)
Are you still afraid, Sebastien?
SEBASTIEN
(now, neither does
he)
I'm not sure.
VALERIE
(quieter)
Sebastien, must I prove it to you?
SEBASTIEN
Can you?
VALERIE
Yes, but I'm not sure you'll want
to know it.
SEBASTIEN
If it proves one thing, I want
to know it.
VALERIE
What thing?
SEBASTIEN
That you loved me the minute
you saw me.
VALERIE
You were sure of that once...
"Hector Berlioz."
120.
L221.
He doesn't answer. She turns her head toward him. He stares
expressionless at the ceiling. She turns back.
VALERIE
Yes, Sebastien, it proves that
thing.
SEBASTIEN
Then I have to know it.
VALERIE
That day you asked me to help
you die.
SEBASTIEN
But instead, you put me to sleep.
You liar.
VALERIE
Yes, you called me "liar." But
you should have called me
"murderer."
SEBASTIEN
What?
VALERIE
De Berthier's hemorrhage was no
accident. I caused it. I poured
heparin into his dialysis machine
and killed him so you could get
his heart. Yes, I murdered him
because I loved you the minute I
Saw you.
Sebastien, dumbfounded, sits up with disbelief. Valerie does
not budge.
VALERIE
(continuing)
Your liar has stopped lying,
Sebastien. Let the truth kill
us or cure us.
There is the SOUND of a car in the driveway. Sebastien sits
frozen with shock on the bed, his back to Valerie, who has not
stirred. The car stops. A car door SLAMS. The sound makes
Sebastien bolt from the bed. He runs to the window as if he
expects the police.
VALERIE
(in bed)
That's Marc.
(MORE)
Lek
VALERIE (cont'd)
He's come to give you a stress-
level test -- No, I've stopped
lying to you -- I called him
when you ran out of the house.
MARC (0O.S.)
(downstairs)
Is anybody home?
Sebastien turns from the window. He stares at Valerie.
VALERIE
(still immobile)
He'll pretend though, that's
why he came.
Now, relaxed and easy, she swings up to a sitting position,
legs off the bed.
VALERIE
(continuing;
She calls down)
We're upstairs Marc. Sebastien's
coming down.
Like an automaton, he walks past the bed toward the door.
INT. GYMNASIUM ROOM - TEN MINUTES LATER
Sebastien, sweat pouring from him, pedals and shouts in cadence
as Mare stands watching, amazed.
SEBASTIEN
I will not reject! I will not
reject! I will not reject! I
will not reject!
The door opens and Valerie stand in the doorway. Sebastien,
seeing her, looks over to her, smiling broadly.
SEBASTIEN
(continuing)
I will not reject! I will not
reject!
Marc looks at Valerie. Valerie is crying.
CUT TOs:
EXT. VILLA - NIGHT
The villa is bathed in moonlight as one light burns in the up-
stairs bedroom.
(CONTINUED)
123s
CONTINUED:
An ambulance appears, turning into the driveway and proceeds
up the slope.
INT. VILLA - NIGHT
Valerie and the white-uniformed ambulance attendant help Sebastien
down the stairs. Wrapped in a cocoon of blankets, he shivers
terribly, his jaws quivering. His breathing is very labored.
SEBASTIEN
(muttering between
heavy breaths)
It's not my heart, it's the
drugs. It's not my heart, it's
the drugs.
In front of the villa, they help Sebastien into the ambulance.
Valerie follows. Emile stand alone as the ambulance drives away.
INT. AMBULANCE - NIGHT
The back of the ambulance. Out the windows, the city of Paris.
Sebastien is on a stretcher, an oxygen mask over his nose and
mouth. Valerie sits beside him, holding on to his out-stretched
hand, their fingers tightly enlaced.
CU FOE
INT. SOLARIUM - DAY
The sun-filled solarium of the hospital. Valerie and Marc sit
On a leather couch. Dr. David is ina Chair, nearest Marc.
VALERIE
So he's right, after all.
DAVID
"Right" about what?
VALERIE
He keeps insisting he's not
rejecting.
DAVID
It's pneumonia, all right. It's
ironic how many transplants die
of infection, not rejection.
She stops a moment in the doorway of room 1177, the room in
which she murdered Achille De Berthier.
away.
VALERIE
Perhaps too many Levéques.
DAVID
What did you say?
VALERIE
I said what about Levegue?
DAVID
She agrees we have no choice
but to stop the drug therapy
at least until and if we pull
him through the pneumonia.
VALERIE
(rising)
Good. I'll go tell him. That
will cheer him up.
DAVID
(looking at her)
And will you tell him about the
danger of rejection without the
drugs?
VALERIE
(her back to them
as she goes out)
He's not going to reject.
INT. SEBASTIEN'S ROOM —- DAY
Then,
124.
quickly she turns
Already, Sebastien's face seems less swollen; though it is half-
concealed by the
A rack
which drips down
flushed.
his hand in hers and his fingers respond.
VALERIE
They've stopped the drugs,
Sebastien. No more drugs. But
was it worth getting pneumonia
to make them do it?
He nods his head "yes."
oxygen mask and his forehead and cheeks are
above him holds the bottle of antibiotic serum
through a tube into his wrist. Valerie takes
a
INT. SEBASTIEN'S ROOM - NIGHT
Sebastien's room, lit only by a night light which throws dis-
torted shadows on the bed, floor and walls. Sebastien squirms
in his bed. Beads of perspiration pour from his forehead and
drip from his chin beneath the oxygen mask. Valerie bends over
him, wiping him with a towel, while Marc, sitting on the bed,
removes the stethoscope from his ears and draws the white coverlet
up over Sebastien's chest. Marc signals Valerie to follow him to
the window.
VALERIE
(desperate)
Marc. If he doesn't climax soon
there wiil be real danger of brain
damage. What are we going to do?
MARC
Valerie, there's nothing we can
do for him.
She turns and stares out the window at the full moon.
VALERIE
(choked)
It's like the first time, again,
isn't it, Marc?
MARC
I'm afraid it is. He'll either
make it or not. It's beyond our
powers.
Trying to comfort her, he puts his hand on her shoulder.
CuL TOs
EXT. PATIO - NIGHT
The moonlit patio of her DREAM: The hibiscus plant wedged with
her knee against the door, she pulls and pulls at the knob,
trying to get inside. Laval's green gloved hand is on her
Shoulder and she hears Sebastien's voice.
SEBASTIEN (V.O.)
What are you trying to do to me?
CUT TO:
INT. SEBASTIEN'S ROOM
Marc is bending over Sebastien, trying to prevent him from pulling
the oxygen mask off his face.
(CONTINUED)
126.
CONTINUED:
With unexpected strength, with his free hand, Sebastien fights
off Marc's hand trying to hold the mask in place.
SEBASTIEN
I don't want it! No more! No
more!
Valerie rushes to the bed. Sebastien looks up at her, his eyes
wild with fever.
SEBASTIEN
(continuing)
No more! No more!
Marc tries once again to replace the mask on Sebastien's face,
but Sebastien jerks his face away from underneath it.
VALERIE
(shouting)
Leave it off! Let him have it
his way for once!
Marc, holding the mask, looks up at Valerie with hurt Surprise.
Sebastien turns his head from side to side, convulsively.
SEBASTIEN
Valerie.
VALERIE
I'm here, Sebastien.
SEBASTIEN
Valerie, no more oxygen. I loved
you the minute I saw you. But
it's too late. He's waiting for
me. He's waiting to settle up
the debt.
VALERIE
Who's waiting, Sebastien?
SEBASTIEN
De Berthier. Right down the hall.
I've got to die so I can give him
my kidney.
VALERIE
(first looking up
at Mare in terror)
No, Sebastien. De Berthier's dead.
127.
SEBASTIEN
I know he's dead. That's why
he's come to collect what we
owe him.
The coverlet is soaked with the sweat pouring out of Sebastien's
body. Marc, leaning down, covers him with a blanket from the
foot of the bed. He bends over, above Valerie, to watch Sebastien
who is trembling and shaking.
SEBASTIEN
(continuing)
He wants his heart back, Valerie.
Don't open the door. This time
it's not the heparin. It's him!
De Berthier!
MARC
Heparin?
SEBASTIEN
He's come for his heart! Don't
let me die, Valerie!
MARC
(looking at Valerie)
What is he talking about?
Valerie looks about to faint. Suddenly, Sebastien bounds up to
a sitting postiion, tearing the tube from his wrist. Marc quickly
bends down, his knee on the bed, to keep Sebastien from falling
out of the bed. Valerie, forced out of Marc's way, moves off the
bed. Now she stands behind Marc. Sebastien shrills, his voice
high-pitched.
SEBASTIEN
Oh good God, he's here! He's
trying to tear my chest apart!
He closes his eyes shut so tight, his entire face is distorted
in pain.
SEBASTIEN
(continuing)
Oh God! How he's hurting me!
Give him the heparin, quick,
Valerie, before it's too late!
He lets out a piercing blood-curdling scream. Marc, too, closes
his eyes a moment. Sebastien goes limp and unresisting as Marc
lowers him back down to the pillow. His eyes are glazed and he
pants. Marc reaches for the oxygen mask once again. Valerie
roughly pushes his hand away.
128.
VALERIE
No! Get out of the way, Marc!
She grabs Sebastien's hand. It does not respond, and his glazed
eyes stare into hers.
VALERIE
(continuing)
Sebastien. Sebastien.
SEBASTIEN
Valerie. I'm dying.
She leans close to his ear. She presses on his hand.
VALERIE
Sebastien. Hold on. Listen to
me. I'm giving him the heparin.
SEBASTIEN
(hardly even a
whisper)
Good. Good.
VALERIE
I'm pouring it into his dialysis
machine.
SEBASTIEN
But don't let anyone see you.
VALERIE
He's hemorrhaging. Do you hear
me, Sebastien? Do you hear me?
SEBASTIEN
(a little louder)
I hear you, Valerie.
VALERIE
He can't take your heart now,
he's dead. The heart's all
yours now, Sebastien.
SEBASTIEN
(breathing deeply)
I should have known you wouldn't
let me die. I should have known
it, myself. I'm sorry. Do you
forgive me, Valerie?
VALERIE
Yes, my darling, I forgive you.
He closes his eyes,
bending,
SEBASTIEN
(very lucid)
Like a God, you gave me life.
(he closes his eyes)
And what a price you paid! Also
like a God. But was it worth it,
Valerie?
(he looks up at her)
Was it all worth it? To have to
murder twice?
VALERIE
Yes, Sebastien. It's all worth
it. Now close your eyes, my
darling, and sleep.
MARC
(very softly)
The fever's broken. You were
right to take away the oxygen.
It may have hastened the climax
before the fever killed him.
Valerie is completely drained and exhausted.
MARC
(continuing)
You may have saved his life for
a second time.
She rises from the bed and collapses into an armchair.
MARC
(continuing)
What he said about the first time
was true, wasn't it.
VALERIE
Yes, Marc.
MARC
And all of what you said to him
was true, wasn't it?
VALERIE
Everything.
MARC
(coldly)
I'm going home to sleep.
(MORE)
Sleeping, his breathing regular.
feels his forehead.
Marc,
129
MARC (cont'd)
You can stay here with your
creation. We'll have to talk
about it in the morning.
VALERIE
(her eyes closing)
Yes, Marc, we'll have to talk
about it in the morning.
INT. MARC'S OFFICE - MORNING
Marc, in a business-like suit,
He looks up.
his desk.
Valerie,
on the couch with pillows,
MARC
SO what do you propose to do
now?
even more weary in contrast.
VALERIE
As soon as he's well enough,
I'll take him home to Malesherbes
and we'll live.
MARC
Do you think it's as simple
as that?
VALERIE
It will have to be.
MARC
And if I should tell what I know?
VALERIE
(completely calm)
Then it won't be so simple. Are
you going to?
MARC
I don't know. I can't make
any promises.
VALERIE
I see.
MARC
Aren't you worried about what
I might do?
looking refreshed,
CUT TO:
in her rumpled dress,
130.
Sits behind
seems
131.
VALERIE
(Simply and
Sincerely)
Yes. Terribly.
Uncomfortable, Marc opens his desk drawer and rummages through
it, not looking up at her as he speaks.
MARC
You have rejected everything
I believed in that made me
become a doctor. I don't think
I could ever come to Malesherbes
again, knowing what I know.
VALERIE
I understand, Marc. I'm sorry.
MARC
(now he looks up
at her)
You'll have to find someone else
to take my place.
He slams the desk drawer shut with finality. She realizes from
the remark that he has decided, at least for now, to keep silent.
VALERIE
Thank you, Marc.
MARC
I don't want you to thank me for
anything. I'm only thinking of
Sebastien. I'll have to find
a reasonable excuse to give
Levéque.
VALERIE
That won't be necessary, Marc.
I said I'll take him home and
we'll live. That means no more
drugs. No more Levéque. We'll
try to live like two normal
people.
MARC
Are you completely mad?
VALERIE
It's what Sebastien wants.
It's what I denied him that
I'm going to give him now.
MARC
Folie a deux!
(MORE)
MARC (cont'd)
But you should know better!
Do you want him to reject?
She gets up from the couch to sit on the corner of
VALERIE
He almost died last night and
it was because of the drugs
and not only because they left
him open to infection. He
tried to commit suicide the
other day after I called you.
You didn't know that.
MARC
No. He seemed ecstatically
happy when I arrived. You
never did explain what happened.
VALERIE
He's been on the euphoria-
depression roller coaster ever
Since the drugs started.
MARC
Perhaps you took advantage of
that, yourself. Or did he also
love you the minute he saw you?
VALERIE
You think he's in love with me
because of the drugs, then?
MARC
It's possible.
VALERIE
Then I'll find that out, too,
Marc. You see I'll take that
chance with him. No more drugs.
MARC
No more drugs.
VALERIE
Yes. No more drugs. The swelling
in his face was the least of my
worries. What about the other
reactions to Levéque's pills?
132.
his desk.
MARC
You should have thought of
that when you poured the heparin
into De Berthier's dialysis
machine.
VALERIE
Yes, quite right. I should
have. But, at least I'm
thinking of it now.
She rises from the corner of the desk.
VALERIE
(continuing)
Goodbye, Marc. I hope to God
we never see each other again.
MARC
(leaning forward)
Don't be sore at me, Valerie.
I should be sore with you.
You've used me very badly and
you know it!
VALERIE
I hope we never see each other
again only for one reason,
because it will mean you saw
it in your generous heart to
keep what you know to yourself.
That's why.
MARC
If I do that, believe me, it
will be only for Sebastien's
sake. He's an innocent victim
and God only knows he needs
someone. After he dies, I have
no obligation to you to keep
Silent.
VALERIE
After he dies, I don't give a
damn what you do.
Laos
She turns her back on him and he stands up as she goes out the
door.
Cus sue
i3@.
EXT. THE VILLA - DAY
Sebastien, outside, is wearing only a shirt and trousers. His
face is completely normal.
SEBASTIEN
(shouting)
Valerie! Come on! My God,
it's like spring outside!
She runs down the steps to join him. She wears a denim skirt
and one of his shirts. He takes her hand. Together they walk
toward the sloping meadow in front of the villa. Sebastien's
shirt is almost entirely unbuttoned -- his gold chain with the
"Berlioz stone" can be seen; also, of course, the still fainter
but visible scar on his chest. Valerie's shirt has not quite
come out from under her skirt waist. He grabs her around the
waist, pulls her to him, and kisses her. Then, hand in hand,
they walk into the forest. They stand, looking down at the
Spring -- the source of the pond, which can be seen glimmering
in the late winter afternoon sun.
VALERIE
There's always water here, no
matter how dry in summer. For
some mysterious reason, it
bubbles up from rock deep down
in the earth.
SEBASTIEN
Water, the fountainhead of life.
VALERIE
In summer, at dusk, you can see
a stag bending here, drinking.
SEBASTIEN
(laughing)
Like in the first song! "The
stag bends down to the water to
admire his great lowered antlers."
VALERIE
(laughs)
Yes, it is!
(Singing)
"When spring comes
When the frost melts
The two of us will go my love
To gather lilies-of-the-valley."
She stops and kisses him.
135s
SEBASTIEN
Stop kissing me, you libertine!
I'm trying to think!
They continue walking.
SEBASTIEN
(continuing)
What else do we have here out
of the first song?
| VALERIE
There, on the other side of
the pond, the lilies-of-the-
valley grow.
SEBASTIEN
Good. And do I dare to presume
we will also have wild
Strawberries. They must be
somewhere. After all, we have
to bring them home at the end
of the song.
VALERIE
Wild strawberries? But of
course! The meadow we just
ran down is full of them.
They have reached the shore of the pond. They walk along it.
SEBASTIEN
Excellent! I think I'll stay
for the summer.
VALERIE
Oh really? And what makes you
think I'll have you?
SEBASTIEN
If you won't -- then, I'll
throw myself into this enchanted
lake and you'll weep like Niobe --
all tears... That's Shakespeare
you know, the idol of my idol...
"Hector Berlioz."
He stops a moment and lightly kisses her. She returns his kiss.
VALERIE
"Hector Berlioz."
He takes her hand and they walk on.
He stops,
taking his hand out of hers;
SEBASTIEN
(serious)
How could I have ever thought
you didn't love me.
VALERIE
(playfully)
Imbecile!
SEBASTIEN
And I had to get pneumonia to
Find out you did.
VALERIE
It wasn't worth it.
SEBASTIEN
Oh yes it was! But there is
nothing to fear any longer.
My resistance is irresistable!
button on his shirt, quickly he takes it off.
SEBASTIEN
Why, I think I may take a swim
right now!
VALERIE
The water's cold. Wait until
Spring.
SEBASTIEN
I want to get sunburned. Can
you believe it; I never had a
Sunburn in my life. I'm going
to get such a sunburn this
summer !
She runs her hand, lightly caressing his neck.
VALERIE
Brown all over.
SEBASTIEN
Yes, brown all over, from head
to toe. Everywhere. And you
are, too!
VALERIE
Okay.
(she takes his
hand again)
The two of us.
136:
and unbuttoning the last
LS?»
They walk on along the shore. In his free hand he trails the
shirt behind him; it waves gracefully in the gentle breeze.
SEBASTIEN
No more exercises! No more
injections! No more of Dr.
Levéque's insipid questions!
They laugh.
VALERIE
No more exercises at all?
SEBASTIEN
No, one we'll continue to do.
And as often as ever!
VALERIE
But just to increase the
amplitude of your heart.
SEBASTIEN
It expresses our love. It's
our love that increases the
amplitude of my heart.
They have come to a moss-covered ledge of rock. Bare tree
branches overhand it, like a canopy. They stop.
SEBASTIEN
Aha! The mossy bank where I
dreamed we made love. In the
spring, we'll make love here.
Right out in the open. Okay?
VALERIE
Yes, why not.
SEBASTIEN
Promise.
VALERIE
I promise.
He puts his arms protectively around her. He seems the older
of the two as they walk on through the sunbeams.
COT TOs
INT. DE BERTHIER'S HOUSE/DRAWING ROOM — DAY
Diane De Berthier, drinking coffee.
(CONTINUED)
138.
CONTINUED:
On the serving table in front of her is a silver platter of
pastries with several plates and forks beside the silver coffee
pot, creamer and sugar bowl.
Mme. Duras, across from her, looks plainly intimidated by the
elegant surroundings.
DIANE
Please have some pastry, Madame
Duras. They're for you; I'm
not having any. But you must
help yourself, please.
Diane's hand comes into frame holding a plate with a fork on it.
Mme. Duras takes it. She falters, trying to remove an eclair
from the platter on the table. Diane reaches over to help her.
Then she hands her a linen napkin.
DIANE
(continuing;
leaning back)
There you are.
MME. DURAS
Thank you, Madame De Berthier.
You have been so good to me.
You are so kind to let me come
to see you here in your
beautiful house.
DIANE
I was delighted to hear from
you. Besides, I'm interested
in your son. After all, it is
my husband's heart... Well, you
know what I mean... And if I
can help you again, of course
I will.
MME. DURAS
Please let me explain right
away; it has nothing to do with
money. When Dr. Chapelle called
to tell me my son would surely
die because he had refused any
more treatment, I didn't know
who else to turn to. I'm even
ready to forgive that woman for
what she's done to my son, if
only I can see him again before
it's too late.
Las
Diane puts down her cup, interested.
DIANE
What woman? And why can't you
see your son?
MME. DURAS
That's all I want. I know you
can arrange it.
DIANE
Relax, Madame Duras. Please.
I really don't know what you're
talking about and I can't help
you until I know exactly what's
happened.
MME. DURAS
I'm sorry.
DIANE
And first things first, please.
Diane sits back comfortably in her chair.
DIANE
(continuing)
Now eat your eclair and then
you can tell me everything.
I've plenty of time.
INT. DE BERTHIER'S BEDROOM - LATER
Diane reclines on the baroque chaise longue in her late husband's
bedchamber. She is animatedly speaking into the mouthpiece of
the gold-plated telephone.
DIANE
Don't be ridiculous, darling --
of course you can come, and bring
Georges along with you... Don't
tell me the two of you have
anything more important to do
because I won't believe it --
You don't love me anymore, both
of you... No, you don't, you
haven't seen me all week long...
Fou and Poo? Fou and Poo are
Fine now, as if you care... You
care? You never even called to
find out, and they were at that
awful vet's for two nights.
(MORE)
140.
DIANE (cont'd)
They both might have died for
all you care... All right, I
forgive you... Yes...
(she laughs)
Don't I always? No, you fool!
Not tomorrow, this evening...
Of course it's important. You
remember Sebastien Duras? No,
no dear. You really are
ghoulish. He's not dead yet,
but wait until you hear what
he's doing with poor Achille's
heart! No, he's living in the
Loire valley and wait until you
hear with whom! No, no, I'll
tell you about it this evening
at seven. Bring Georges along,
and then you may both take me
to dinner... Good.
She smiles as she pus the telephone down on the gold receiver.
EXT. VILLA - AFTERNOON
The mirror mounted on the corner post at the driveway exit from
the villa reflects a bend of the tree-lined main road. A smart-
looking 450 SL Mercedes-Benz sportscar is SEEN in the mirror
Slowly rounding the bend. The Mercedes Slowly meanders past
the driveway. Then it stops; backs up; then, with a swift,
resolute turn, it pulls forward into the driveway.
INT. VILLA - AFTERNOON
Inside, the doorbell is ringing. Sebastien appears from the
Studio, going through the living room into the hall.
SEBASTIEN
(shouting upstairs)
I'll get it.
He opens the door. Nicky and Georges stand on the veranda,
outlined by the door frame. The Mercedes is parked immediately
below at the bottom of the veranda steps.
SEBASTIEN
Hello.
NICKY
(affecting a
jaunty air)
Well, hel-lo! I wonder if you
could help us? We understand
there's a farm for sale around
here, but we don't seem to be
able to find the place.
GEORGES
(quickly)
I think we took the wrong road
from town.
NICKY
(picking up the
ball again)
Or perhaps we weren't given
the correct directions to begin
with. At all events, we seem
to be quite lost.
GEORGES
This isn't the place, by any
chance?
SEBASTIEN
I'm afraid not. But won't you
come in? Dr. Talma might know
something about it.
NICKY
Dr. who?
SEBASTIEN
Dr. Talma. This is her villa.
NICKY
(turning to Georges)
My goodness, but doesn't that
name ring a little bell in my
Car. Dr. Talma... but I can't
quite place it.
GEORGES
Dr. Talma -- a lady doctor...
NICKY
(to Sebastien,
Smiling)
I've been in so many hospitals,
unfortunately, and more and more
woman doctors, you know...
(MORE)
141.
Sebastien moves back,
NICKY (cont'd)
Pretty soon they'll try to do
everything men do, won't they?
Tell me, is this Dr. Talma home
at present?
SEBASTIEN
Yes, of course. And I'm sure
She'll be glad to help you find
your farm. Come in.
GEORGES
Oh no, we don't want to
inconvenience the doctor!
(looking at Nicky
for a decision)
Perhaps we should go back into
town and start over again.
What a bore!
SEBASTIEN
That's seven kilometers from
here, and you'll probably get
lost again. Please come in.
I insist.
142.
opening the door wide for them to enter.
With his eyes, Nicky communicates "yes" to Georges, and they
Sebastien closes the door while Nicky and Georges
come inside.
give the inside the "once-over" not unimpressed by what they see.
SEBASTIEN
(continuing)
Won't you sit down in the
living room? Dr. Talma's
upstairs at the moment.
NICKY
Are you her son, perhaps?
SEBASTIEN
Oh no, I'm a friend of hers.
GEORGES
Well, you don't look like a
patient, that's certain.
SEBASTIEN
Thank you.
VALERIE (0.S.)
(from upstairs)
Who is it, darling?
143.
SEBASTIEN
That's she.
NICKY
(significantly)
I see.
SEBASTIEN
(going to the stair
and calling up)
some gentlemen are here. They
seem to be lost.
VALERIE (0.S.)
I'll be down in a minute.
In the living room, Nicky and Georges sit together primly on the
couch. Sebastien sits on the arm of a chair.
GEORGES
What a beautiful house! And
what lovely countryside this
is! Are you lucky enough to
live around here, too?
SEBASTIEN
I live right here.
GEORGES
Really? That is luck.
SEBASTIEN
Yes, Since Christmas.
GEORGES
How nice. And whose Christmas
present were you?
Sebastien laughs, not unflattered.
VALERIE
Valerie overhears the conversation coming down the stairs.
SEBASTIEN
SO you two fellows are interested
in buying a farm around here.
NICKY
Well, to tell you the truth,
it's not actually for us.
(MORE)
Valerie stops
Valerie is terrified;
NICKY (cont'd)
We're looking for a place for
a very dear friend of ours --
a lady.
mid-step. She stands frozen.
NICKY
(continuing)
This lady of ours lives in
Paris. She quite recently
lost her husband.
SEBASTIEN
Oh, I'm sorry.
NICKY
Yes. We think a change of
scene might do her good.
GEORGES
She's very depressed. Who
knows what she might do?
NICKY
She holds onto the bannister.
You see, her husband died very
suddenly, and very unexpectedly.
GEORGES
We think a case of malpractice
was involved, at the very least.
She lunges down the stairs.
144.
Sebastien is still half-sitting on the arm of the chair next to
the couch.
Valerie comes
men rise.
SEBASTIEN
That's terrible. I think I
hear Dr. Talma.
in the doorway. She stands,
NICKY
Oh my goodness, this is a
stupified.
fantastic coincidence! I can't
believe it! Dr. Talma, of course.
Dr. Talma from Brousais Hospital!
GEORGES
Now I know what they mean when
they say it's a small world.
The two
145.
Sebastien looks startled and confused.
NICKY
She doesn't remember us.
GEORGES
Then let's not remind her.
The past is water under the
bridge. She couldn't help
what she did.
NICKY
Yes, she was so concerned about
that young man. And she pulled
him through didn't she?
GEORGES
And our poor friend died after
that scene she pulled in his
room. It's for this very same
widow we're looking for the
farm, you see.
Sebastien is looking at Valerie like a frightened animal.
NICKY
(still pretending)
By the way, what ever did
happen to that young man who
got our friend's heart? Is
he still alive? They usually
don't last very long do they?
Sebastien goes to Valerie. Automatically she takes his hand
into hers.
NICKY
How stupid I am! What a gaffe!
Forgive me, I should have known.
Nicky approaches and looks at Sebastien like merchandise.
NICKY
(continuing)
But you look in the pink!
Marvelous. I'm so confused by
this fantastic coincidence!
He turns to Georges, who has followed behind hin.
NICKY
(continuing)
We go house-hunting for Diane,
and look what game we find!
GEORGES
A doe with her fawn.
NICKY
No! No! With her young stag.
Right, Dr. Talma?
VALERIE
Why did you come here?
NICKY
For Madame De Berthier. We
told you.
VALERIE
What does she want?
NICKY
What do you mean?
VALERIE
Stop beating about the bush.
Why didn't they tell the police?
NICKY
Who?
VALERIE
She and Chapelle.
NICKY
Your ex-boyfriend? Well asa
matter of fact, he did start
the ball rolling. I'm glad some
doctors have principles. He
called the kid's mother; and who
else could she go to but our
friend, since you won't even
allow her to see her own son?
GEORGES
Maybe his mother should go to
the police, but he's over eighteen.
Anyway, she forgives you both...
poor woman.
SEBASTIEN
How do you know my mother?
GEORGES
I know plenty about you -- more
than you think.
(MORE)
146.
GEORGES (cont'd)
For instance, I know that your
mother wants to come out here
to see her little boy again.
NICKY
That's something both of you
had better do for Madame De
Berthier. After we tell her
about this fantastic coincidence.
GEORGES
We'd better trot along on our
way, Nicky, before we abuse
their hospitality.
They both start into the hall. Sebastien would
them.
Valerie and Sebastien at the open door.
pull away and then drive off down the Slope.
SEBASTIEN
(sarcastically,
in a nasty tone)
And what about the "farm" you
were looking for?
NICKY
(equally nasty)
The "farm." Knowing Madame
De Berthier as well as I do,
I'm sure she'll want to come
out with your mommy to see the
"farm" and the stud as well,
sonny.
VALERIE
Marc told! He promised not to,
but he told everything! And
why did he go to your mother
first? Why involve your mother?
SEBASTIEN
(in terror)
But at least De Berthier didn't
tell the police.
VALERIE
Not yet! First she wants to
come out here and play with us
like a cat plays with a mouse
before she kills it.
(MORE)
147.
like to strike
They watch the Mercedes
148.
VALERIE (cont'd)
First she wants to maul us
and scratch us. Then she'll
go to the police.
SEBASTIEN
(frightened to death)
If they take me away from you,
I'm going to die, Valerie. I
Swear it! You've got to take
me away with you where no one
can find us! De Berthier!
Marc! My mother! No one!
No more reality, Valerie! I
won't live with reality any
longer! I can't! I swear it!
I can't!
VALERIE
(calmly)
Then I won't let you, Sebastien.
You won't have to.
EXT. POND - DAY
At the spring, the stag stands, his head up, immobile, completely
still.
INT. VALERIE'S BEDROOM - NIGHT
In Valerie's dark bedroom, Sebastien lies on top of her. She
returns his ardent kisses and caresses. Suddenly, he rolls off
her onto his back, and over again onto his stomach.
SEBASTIEN
I can't.
She turns on her side and kisses him on the back of his neck.
VALERIE
You're tired. Go to sleep,
darling.
SEBASTIEN
It never happend before.
VALERIE
It's nothing, darling. Go to
sleep.
SEBASTIEN
I feel punk.
149.
VALERIE
It was a bad day.
some sleep.
Try to get
If we're going
to make it to the Alps in one
day, we have a long drive
tomorrow.
He turns around and kisses her.
LATER
He lies on his back.
labored sound of his breathing.
His eyes are open.
He tries to stifle the
VALERIE
You're still awake.
SEBASTIEN
I don't seem to be able to
get back to sleep.
He knows she hears it and that she knows he is trying to hide
the sound.
Her eyes are filled with tears.
SEBASTIEN
(continuing)
I want you to promise
Valerie.
me something very important to me.
VALERIE
Yes.
SEBASTIEN
If anything should happen to me --
you must never take me back to a
hospital, no matter what it is.
Do you promise?
VALERIE
Whatever happens to you happens
to me.
SEBASTIEN
So things can happen to us.
We don't have to say it to
know what's there,
do we?
VALERIE
No, darling, we don't have to
Say it. And we won't say it.
SEBASTIEN
(smiles)
Good. We all sleep, eventually.
150.
VALERIE
Yes, we all sleep.
SEBASTIEN
Good. And no more tricks and
lies.
VALERIE
No more. Because this time I
will sleep with you.
He reaches over to her and she nestles into his arms. She
kisses him over and over: his adam's apple, his chin, his
Smiling lips; his eyes she closes shut with her lips, one after
another. Then, he buries his head in her breasts, and she kisses
his beautiful soft hair.
SEBASTIEN
I love you this moment more than
I ever loved you before, if such
a thing is possible. Yet I can't
make love to you.
VALERIE
What does it matter? Just lie
in my arms until the light comes.
Cur TO:
EXT. VILLA/DRIVEWAY - DAWN
Emile is putting valises into the rear compartment of the red
Peugeot station wagon. Valerie, her coat on, is coming from
the front door of the villa. She carries another valise. Emile
hastens up the steps to take it from her. Together they go down
the steps to the rear of the car.
VALERIE
I'll telephone you tomorrow.
If not, the day after. Meanwhile,
Should anyone show up here, tell
them nothing.
He nods and puts the bag in the wagon with the rest.
VALERIE
(continuing)
And don't let anyone in the house.
EMILE
Absolutely not, Dr. Talma.
if?
VALERIE
Even if someone comes with Dr.
Chapelle. You understand?
EMILE
And I have no idea where you
went.
VALERIE
Exactly... You don't.
Sebastien appears at the door, his winter coat collar turned up.
He holds a valise, with obvious effort. He looks sick.
VALERIE
(almost violently)
Emile, help Monsieur Duras!
Emile takes the valise from Sebastien at the veranda steps.
She holds the car door open for him.
VALERIE
(continuing)
Are you okay?
SEBASTIEN
(getting in)
I'm fine. Let's go. Quickly.
EMILE
Have a safe trip.
VALERIE
Yes, Emile.
EMILE
It looks like you won't be
back for a while.
VALERIE
(getting in)
No Emile. Not for a while.
She slams the door.
She drives down the slope. He looks across her, at the pond.
SEBASTIEN
How I wanted the spring and
Summer here!
She doesn't answer. They reach the "blind spot" at the end of
the drive. She stops, looking across at him and at the mirror-
post on the right.
His eyes are moist.
hand. Quickly,
SEBASTIEN
You can go. Go ahead... Get
it over with!
EXT/INT. CAR - MIDDAY
The car on a road along a river.
the foothills of the Alps.
He grimaces.
VALERIE
We can stop in Lyons and get
something to eat.
SEBASTIEN
I don't think that's a good idea.
They might be looking for us
there.
VALERIE
Don't be silly. We're not
fugitives.
SEBASTIEN
Aren't we?
VALERIE
No one knows where we are.
VALERIE
(continuing)
What's the matter?
SEBASTIEN
I don't think I'm hungry.
VALERIE
You're tired. We hardly slept.
SEBASTIEN
I'm fine. No, I'm not. My
Stomach hurts. I think - it's
a little swollen for some
reason. Probably just an upset
stomach -- that's why I'm not
hungry. My trousers seem tight.
Maybe I'm just getting fat.
CUT TOr
LOZ.
Involuntarily, he scratches his wrist and
She turns into the tree-lined road.
In the distance can be seen
They are covered with snow.
LOS
VALERIE
Unbutton them. No one can see
you.
He smiles, and the beautiful smile is tinged with bitterness
as he turns to look at her.
SEBASTIEN
Then if the police find us --
me with my trousers unbuttoned
-- our friends, our lovely
friends will say that that's
how it was with us, even at
the end.
He turns away, looking out his window.
VALERIE
(turning toward him)
Then let them say that -- our
lovely friends. That even at
the end, we lay in each other's
arms.
EXT. COTE-ST-ANDRE - AFTERNOON
The main street. The station wagon is parked close to an old
stone house which bears a plaque: Musée Berlioz. On the closed,
boarded-up front door a sign: "Museum Closed." Sebastien stands
in a pile of dirty snow, he leans with upraised arms against one
of the old walls. Valerie holds him, her arm encircling him, her
other hand holding his shoulder. His body shudders; heaving, but
unable to throw up.
SEBASTIEN
(rasping between
spasms)
Awful. This is awful. I have
to be sick here. Nothing works
out for us. Nothing.
VALERIE
(whispering)
Don't say it. Sebastien, don't
Say it. Come, let's go back to
the car.
She leads him from the wall. Then, suddenly above them, the
SOUND of a shutter being thrown open.
WOMAN
What's going on down there?
What do you want?
154.
VALERIE
(calling up)
The museum. We were looking
for the museum.
WOMAN
You're too early. The museum
is only open in the summer.
VALERIE
I know. I know we're too early.
The shutter bangs shut.
SEBASTIEN
Too early and too late.
EXT. MOTEL - DAY
The station wagon approaches the gateway of a rustic upcountry
motel. The sun is low on the western horizon, and the distant
towering Alps have turned vermeil against the slate-colored
Clouds that are banking up in the eastern Sky. Already sporadic
Snow showers fall dizzily, spiraling in the wind. Valerie stops
in front of the main lodge.
VALERIE
(getting out of car)
I'll be right back with the key.
Sebastien is slumped, head against the window, his eyes closed.
She hurries out of the lodge with a key dangling from a large
tag. Quickly she gets in the car and drives down a snow-plowed
rutted road, passing a number of chalet-like cabins set quite
far apart from each other in the snow-filled piney woods. They
are unoccupied. She stops in front of the last one. It is
beginning to snow in earnest as she helps him out and shepherds
him inside. She carries only her black doctor's bag.
INT. CHALET CABIN - DAY
With its beamed cathedral ceiling, it is somehow faintly remin-
iscent of the studio wing of the villa. Sebastien lies in the
double bed, his head propped up by both of the bed's pillows.
His shoes are off and his shirt is open almost down to his swollen
waist where his trousers, too, are unfastened. He wears the chain
with the grave stone. The light is on in the adjoining bathroom
and there is the SOUND of water running out of a faucet. The
faucet stops and the light goes off. Valerie comes from the
bathroom, carrying a small tray with a carafe of water, two glasses,
and between the two glasses, a vial of pills.
(CONTINUED)
L5D's
CONTINUED:
She sets the tray down on the night table beside the bed. She
sits on the bed, takes the vial from the tray and holds it in
her hand.
SEBASTIEN
How long to they take to work?
VALERIE
Only minutes. If you take
them with enough water, they
work faster -- they dissolve
quicker..
SEBASTIEN
(closing his eyes)
Water... Then we'll drink lots
of water, won't we?
VALERIE
(looking at him
intently)
You want it to happen quickly.
SEBASTIEN
(opening his eyes
again)
Yes, I want us to be together.
VALERIE
We are together now.
SEBASTIEN
I want us to be together always.
(he looks down
at his waist)
Before this reality or the
other one tear us apart.
She looks down at the vial in her hand.
VALERIE
(quietly)
And tell me in your sweet voice:
"always."
SEBASTIEN
(smiles)
"Always." Finally, at last we
have to make the impossible,
possible; the reality, unreal.
We never accepted it, but the
water is the only way.
156.
She reaches for the tray and sets it on the bed between them.
Then from the carafe, she fills one of the glasses with water.
VALERIE
Then we shall make the impossible
possible, at last. And wash away
everything that still stands
between us. Everything, Sebastien.
We'll wash the slate clean.
She begins to fill the other glass on the tray; but she stops,
leaving it half-filled.
VALERIE
(continuing)
One glass is enough.
SEBASTIEN
Yes, we'll share the water.
She unstops the vial and gently shakes the little white pills
onto the tray. He moves back against the headboard, Sitting up
and looking down at the pills on the tray. His voice has a
strange urgency.
SEBASTIEN
(continuing)
I'm very thirsty, Valerie.
They get very thirsty at the
end, don't they. That's one
of the final symptoms... when
it's drawing to a close.
VALERIE
It's drawing to a close for
both of us now, my darling
Sebastien.
He holds out his hand.
SEBASTIEN
Give me the glass.
VALERIE
No, take it yourself.
He reaches down and slowly picks up the glass. Sebastien looks
at the glass in his hand as if it were not water, but some
mysterious substance.
VALERIE
(her voice, too,
is strange)
Tell me, my beautiful young
fellow, where would you like
to go?
iS?
SEBASTIEN
To an unknown island.
He turns from the glass and looks at her.
SEBASTIEN
(continuing)
Will you meet me there?
With his other hand, he picks up several of the small pills,
still staring at her as he does it. He puts them in his mouth,
and raising the glass to his lips, still looking at her, he
Swallows hard.
VALERIE
(holding out her
hand)
I will meet you on the shore
where love endures.
Taking the glass from his hand and the pills from the tray, she
drains the rest of the water with the pills. Then she sets the
empty glass down on the tray.
VALERIE
(continuing)
When the impossible finally
becomes possible, and the real,
unreal.
SEBASTIEN
Yes! I want to drink to that!
I'm still thirsty, Valerie.
She refills the glass from the carafe. Taking more pills, he
drains the glass and replaces it on the tray. He stares at her
while she fills it yet once again, and once again empties it,
Swallowing more pills. The empty glass is still to her lips,
she looks long and hard at him.
VALERIE
(taking the glass
from her lips)
It's done.
Slowly, with finality, she replaces the glass on the ray.
SEBASTIEN
(his voice is
peculiar)
It's done... It's not another
one of your tricks, is it?
(MORE)
158.
SEBASTIEN (cont'd)
Am I going to wake up in a
hospital in Grenoble with yet
another heart? "Sebastien,
can you hear me? Remember the
possible, Sebastien."
Suddenly, violently he shoves the tray off the bed. There is the
sound of shattering glass. He falls back on his pillows. Valerie,
sobbing, reaches over, her hands on his shoulders.
VALERIE
It's done, Sebastien! It's done,
darling! It's all over! You
asked me to do it then, in the
hospital, and I tricked you.
But I tricked you because I
loved you. And I didn't know
then that the only way was to
go with you.
SEBASTIEN
And I didn't think you loved me,
and I made you miserable the
Short time we had when I should
have made you happy.
VALERIE
Miserable? Never! Never,
Sebastien. Never miserable.
I have no regrets.
SEBASTIEN
I have no regrets either. It
was fantastic what you did,
Valerie. You gave me an extra
life, a real life. I would
never have known what love was,
otherwise, and I wouldn't have
gone to heaven. You got me
into heaven.
She bends down and kisses his lips. Then she sits up again,
looking down at him.
SEBASTIEN
You look exhausted. Lie down
next to me. You're pooped.
VALERIE
(she smiles)
Like that morning in the hospital?
159.
SEBASTIEN
Yes. Let the doctor lie down
with her patient. Is the door
locked?
VALERIE
Yes, the door is locked.
SEBASTIEN
Good, because I'm getting
Sleepy. Are you?
VALERIE
Yes.
SEBASTIEN
I don't want anyone to disturb
uss
VALERIE
No one will disturb us anymore.
SEBASTIEN
Good.
She lies down next to him. She lies on her side, her face to his.
SEBASTIEN
(continuing)
Let's put our arms around each
other... Then, to our house,
all happy, all content, our
fingers entwined... we'll go
home bringing wild strawberries.
Their arms are around each other; their fingers are entwined.
He looks upward; she, lying on her side looks at his face.
VALERIE
Yes, Sebastien, we'll go home...
happy and content.
He closes his eyes and softly sings.
SEBASTIEN
(Singing)
"When the spring comes,
When the frost melts..."
(speaking)
I'm singing to kill time.
VALERIE
(closing her eyes)
Yes, my darling, we are killing
time.
He stops.
160.
SEBASTIEN
(Singing)
"The two of us, will go, my
darling --"
She opens her eyes.
VALERIE
(Singing)
"To gather lilies-of-the-valley..."
SEBASTIEN
Nothing hurts me anymore.
VALERIE
Nothing will ever hurt you
again.
SEBASTIEN
(Singing)
“Under our feet,
The dewdrops hang,
Like beads trembling in the morning."
VALERIE
(Singing)
"We will go to hear the blackbirds
Sing."
SEBASTIEN
(half asleep,
repeating)
"We will go to hear the blackbirds
—p A:
They lie together, eyes shut, faces touching, hands entwined,
as we HEAR the music of the song Sung by a sweet soprano voice.
SEBASTIEN
(whispering)
Are we dying? Are we really
dying? Or was everything a
dream?
VALERIE
(whispering)
What does it matter? Just
lie in my arms until the light
comes.
The image of Valerie and Sebastien becomes mixed with the cabin
in the pines and the heavy flakes of snow drifting down like a
glass paperweight when shaken.
(CONTINUED)
de.
CONTINUED:
The image of Valerie and Sebastien FADES OUT entirely and then
BACK IN but now they are lifeless, with open eyes. Their life-
less image FADES OUT and in its place appears the moss-covered
bank where they promised to make love. A summer morning. They
lie naked in each other's arms. A canopy of branches in full
leaf hangs over them. The pond glimmers behind them, the shore
dotted with wild flowers and ferns. They rest on their elbows,
their faces touching, talking, laughing.
They walk through the woods, dappled with afternoon light and
Shade. She wears a flowing dress which billows as she walks.
He trails his shirt behind him like a banner, unfurling behind
them. A rabbit scurries across their path. At the Spring,
they stop to watch the stag bent down, its great antlers mirrored
in the water. The stag slowly lifts his head. Sebastien no
longer has the stone chain around his neck on his unscarred
chest.
The image CHANGES to the villa at the crest of the hill glowing
vermeil in the light of the setting sun. In the distance, they
are wandering up the slope. The flower beds are ablaze with
color. The front of the villa, pink as the sun. Holding a
basket filled with wild strawberries, their fingers entwined
on the ample handle, they climb the veranda steps. The light
suddenly changes to a deep violet. It is a summer night and
they are home.
FADE OUT
THE END
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