by Alan Filewod
(François exits with the table settings, returns, and sits at the table. The lights and music communicate that it is now the end of the day, and he is exhausted. He counts some paltry tips, then taps out three lines of cocaine, and snorts it, as the lights fade to black.)
Projection
THE AUDITION / SAUVÉ MÉTRO STATION: INTERIOR, DAY
(A spotlight comes up, stage right. Lucie enters anxiously, left, and walks diffidently into it to begin her audition. She talks to an unseen Interviewer positioned in the audience. Her English is good, but sometimes hesitant.)
Lucie: Hi … My name is Lucie Champagne … My hair is shorter than in my photograph because I’m doing a show at the moment where I play a guy, and so, they cut my hair … First, I should tell you … I’ve never worked on a movie but I’ve done lots of videos … I worked mainly in comedies, but I like doing drama just as much … I did lots of videos for the government social services … Let’s see … What would be an example
…
Oh yes! They gave me the role of this woman whose money was stolen by her brother-in-law … Well, to us here that might seem a pretty tame crisis but for this woman it is something very dramatic and completely devastating, because … it’s her money – and well, – it’s her brother-in-law … and so I had to play this part with as much emotion as I possibly could. Oh yes! While I was still at the theatre school I worked on a truly beautiful play by Tennessee Williams called: Talk to me like the Rain and Let me Listen. The title is very long, but the play is actually very short. It is the story of a couple, and I played the woman, and my character, she was … anorexic. But not by choice – I mean, she was anorexic because she hadn’t eaten for four days, because she didn’t have any money, because her boyfriend took off with the welfare check. I just loved playing that role.
(She gets nervous)
My first experience? … Well …
I was sixteen … and it was with a young guy named Alain … and at that time I was very afraid about all –
OH! … you mean in theatre!
Okay, I’ll tell you – you’re going to laugh!
It was for the priest’s birthday when I was in grade one; we organized a little school celebration. So, everyone in my class was in it, the other kids lined up along the wall, and they sang the first line of the song “Where are you going little Bo Peep, where are you going Bo Peep?”
And there I was out in front wearing a little white dress, and I sang back: “I am following this beauteous star and all my sheep are saying Baa”!
Oh boy! Was it heavenly! I was a kid who like to tell lies, you know – I was not a liar, but I used to be fascinated that I could say things which weren’t true, but do it so convincingly that people would believe me – so I would spend my time making up all these stories …
(She is brought back to the present.)
For my audition, I brought a soliloquy from
Shakespeare’s Hamlet … No, no, not the role of Ophelia: Hamlet. That is the part I’m playing in the show, as a guy.
Oh … you would prefer an improv, euh … Should I improvise here? What would you like me to improvise?
– To imagine myself in a tragic situation …?
Is that so you can see if I can cry? Because, I mean, I can’t cry just like that … that is … put me in a film where there is a sad scene where I have to cry, and I would concentrate to the point where tears would well up, yes – but I can’t cry just like that.
– To imagine myself in an absolute state of panic …?
(She tries to joke.)
You don’t think I’m panicking enough here?
(She gathers her concentration.)
Okay. I’ll do it.
(Projection of a Metro logo on the wall, with the sign for Sauvé Metro station. Lucie focuses on the front edge of the stage, an expression of absolute horror on her face; she backs up to lean against the wall with an inarticulate scream. David enters, and takes in the situation downstage without expression. Solemnly, he kneels at the edge of the platform beside the “tracks,” takes out a notebook and writes. Lucie continues to shout and cry about the suicide she has witnessed, in a semi-hysterical state of shock. David assesses her, finishes writing his notes, while periodically checking back to her, then goes to her. As she is sobbing for breath he pulls her from the wall to lean against him, and smooths her shoulders, rhythmically. She gradually regains control of her breathing. David checks her pulse, gives her a pill from a bottle he has in his pocket.)
David: Take this, it’s a mild tranquillizer.
Lucie: The boy – he was killed on impact?
David: (lying): Yes. Can I give you a lift somewhere?
Lucie: Yes.
David: Where do you live?
Lucie: In Quebec City.
I was on my way to get the bus.
David: I’ll walk you to the terminal then.
(David puts his arm round her shoulders and they move off together stage left. Lucie breaks away to stare once more at the tracks, then makes the transition back out of the memory, resuming her starting position against the wall in the audition spotlight. The Metro sign projection and other lights fall away as David exits.)
Lucie: Was that enough?
Blackout.
Projection
THE FLESH: INTERIOR, NIGHT
(The soundscape indicates a crowded gay bar with loud, heavy rock music, and disco lighting from hell. François enters, drinking a beer, watching bodies on the dance floor. Soon he realizes one of the crowd is assessing him; when he’s propositioned to have sex in a private room, he agrees. Expressionless, he follows the man stage right where, once the door is closed, he is seized, his leather jacket pulled off, his arm twisted, and his body forced up against a wall.
Slowly, and very sensuously – dropping to a kneeling position with one eye on his partner – François removes his shirt … his belt … which he gives away. He turns his back, and unzips his pants. As he is beaten, with each sound of the whiplash, François physically recoils against the wall. La petite morte and collapse, finally, the exchange is finished. Satisfied, soul weary, François gathers his clothes and his shreds of self-esteem. Without speaking to his partner he goes back to the bar. Lights fade as he drinks another beer.)
Projection
THE TEARS: INTERIOR, NIGHT
(The transparent mirror which locates Lucie’s dressing-room drops to hang above the wall stage right. Lucie sits behind it removing her make-up. There is a knock at the door.)
Lucie: Entrez!
David: Good evening.
(They look at one another, and search for their English language.)
Lucie: David, my God it’s you! I wasn’t expecting to see you here tonight! You came all the way from Montreal just to see the show?
David: Well, in fact, I had some business this week in Quebec City and I promised I would see you act one day, so here I am.
Lucie: We weren’t exactly sold out tonight …
David: Well, that just makes it more intimate theatre.
Lucie: So, what did you think? Did you like it?
David: Hm … I thought it was quite interesting.
(Presents her with a bunch of flowers.)
Oh, – here.
Lucie: (trying to cover her alarm):
Oh my God! Carnations!!
Ill at ease, David picks up the skull on the dressing room table.)
David: Is this Yorick?
Lucie: You know him well?
David: Of course. He’s the only character in Hamlet who is not killed at the end of the play!
Lucie: That’s nice, how you use his name. Everyone here just calls him “the skull.”
David: I thought it quite clever to have a woman play the part of Hamlet. I found it brought … a whole new dimension to the character.
Lucie: Well … in fact – (she lies) We did it because we felt it has so much more impact, to see a woman grapple with those ideas in this day and age.
D
avid: It must be very difficult for an actor to voice “To be or not to be, that is the question,” – and to examine those things so fundamental to life: love, honour. Death …
Lucie: Death …
It’s on my mind a lot. More than ever, after seeing that guy throw himself under the train in Montreal …
Anyway … I want to thank you for driving me all the way back to Quebec City, you really didn’t have to do that!
David: Let’s just say I was not acting purely out of duty; it also gave me the opportunity to get to know you a little better, and to make a new friend. Well … (He checks the time.) Once again, well played, and –
Lucie: You’re not going to leave – can’t I tempt you out for a drink?
David: I’m afraid my bus leaves for Montreal at eleven.
Lucie: You know, buses leave for Montreal up till one o’clock.
David: Yes, but what if it should snow? If there was a snowstorm I’d be stuck in Quebec City!
Lucie: Oh, it won’t snow tonight. These clouds will go away!
David: Well … all right then.
Lucie: Do you mind waiting one second while I get changed? I’ll be right back … (she goes out stage left and calls from offstage.)
So, you were in Quebec City all week long?
David: Yes, I was attending a seminar on new investigative techniques. I had to do some research in the files of the City Court, also.
(He replaces the skull on the dressing table.)
He is quite a specimen!
Lucie: Who’s that?
David: The skull.
Lucie: I’ll pass it on to the props guy, he’ll be thrilled to hear that from a connoisseur!
(She re-enters the dressing room; David is looking at a small tube.)
David: What’s this?
Lucie: A special product they use in films to help actors cry.
David: Why?
Lucie: Well … imagine doing the same sad scene twelve times. It’s got to be hard to cry every time, you know? So, they put it into the actor’s eyes and it makes the tears flow all by themselves.
David: Wait a minute. Are you trying to tell me that when an actress like – let me think – Jane Fonda, when she cries … it’s all a fake?
Lucie: Sometimes, yes.
David: What a deception! I really believed that, for an actor at least, tears were the ultimate proof of true emotion!
Lucie: Ah, people love these misconceptions about acting! Do you want to try it?
David: Surely you don’t want to make my cry?
Lucie: Yes! You’ll see, it won’t hurt … it will be funny!
David: Why not? How do I do this?
Lucie: First, I’ll ask you to take off your glasses.
(She leans forward to take his glasses; during the following, she places a few drops in his eyes.) And now, since we are making a movie, I’ll ask you to think of something sad, so the scene will be truthful …
David: Something sad …
Something recent?
Lucie: Whatever you want …
… and now, I say “Quiet on the set; Sound, Camera, Action!”
(As David remembers, there is a musical theme reminiscent of his past, and Lucie is frozen with the present moment. Holding his glasses she recedes up and away, flying from the dressing room until she disappears; and David, in another time, brings out a letter from his pocket.
The Brandenburg gate is projected on the cyclorama behind the wall. While David reads his letter in German, English subtitles are projected upon the wall.)
“Ich weiss, dass man niemanden zue Liebe zwingen kann … Aber ich möchte dass Sie wissen, dass ich das Gefühl habe Sie seien ein Stück von mir.
An dem Morgen, an dem Sie Ost Berlin verliessen zitterte ich am ganzen Körper. Als ich fragte wann Sie kommen, sagten sie ‘Ich bin bald wieder zurück’.
Ich habe es nicht gezeigt, doch ich wusste sofort dass es eine Lüge war. Was nicht vom Herzen kommt, geht nicht zum Herzen … Das habe ich in Ihren Augen gelesen. Könnte ich die Stadt verlassen würde ich mit Ihnen sein.
Sie fehlen mir,
Anna”
The Subtitles:
“I know that it is impossible to force someone into loving …
But I want you to know that I feel you are a part of me.
The morning you left East Berlin, I was quite shaken.
When I asked, ‘When will you return?’ you replied,
‘Soon.’
I did not let on, but at that instant I knew you were lying.
What does not come from the heart is not taken to heart …
I can see it in your eyes.
If I could leave this city, I would be with you.
I miss you deeply.
Anna”
(David is crying. He folds the letter and replaces it in his pocket, as Lucie glides back into her place in the scene and the present time frame is resumed.)
David: This stuff really burns … it’s like getting soap in your eyes.
Lucie: It won’t hurt for long … You know, you have to suffer if you want it to look like you are suffering … David – you should never give carnations to an actor because they bring bad luck.
David: You are superstitious?
Lucie: Well, I have just finished seven years of bad luck from breaking a mirror!
David: Then perhaps we should put some distance between ourselves and this one. Shall we go?
(Lucie takes his arm to exit.)
Blackout
Projection
APARTMENT #7: INTERIOR, NIGHT
(Stage left, a washbasin full of water set in the wall with a mirror above it indicates the bathroom in François’ apartment. François enters, drunk, limping and sore. He drops his leather jacket on the floor and peels off his T-shirt, craning to see the weals on his back reflected in the small mirror. There is a knock at the door. He quickly puts his shirt back on, as Lucie enters.)
Lucie: François?
François: Oui … entre.
Lucie: Excuses … c’est parce que je viens d’arriver chez nous j’peux pas rentrer, j’ai pas mes clés.
François: Ah …
(He looks for Lucie’s key inside his jacket pocket, and gives it to her.)
Ça te tentes-tu de rester prendre un café?
Lucie: J’aimerais ça mais, j’t’avec quelqu’un.
François: Ah! … y’a quelqu’un qui t’attends …
Lucie: Chut! J’t’e conterai ça demain …
(She goes out. François again takes off his shirt and soaks it in water, then lays it across his back with a sigh of relief. The sound of laughter filters in from next door. François smiles and shakes his finger at Lucie, hesitates, then puts a glass up to the wall to listen to what’s going on the other side. Sound amplification enables Lucie and David to be clearly heard from offstage.)
David: You have a very wonderful collection of dolls here. Very beautiful, some of them … Oh well, I guess … I blew it! The last bus …
(They laugh.)
Lucie: Oh well! Would you like to have a drink?
David: Is this a bottle of vodka I see before me?
Lucie: Yes … you want a glass of it?
David: Yes please, with a lot of ice …
(François removes the glass. He’s lonely. Lights fade on him standing next to the washbasin.)
Projection
THE SNOW: EXTERIOR, NIGHT
(A musical score plays for the snow scene. Above the wall, a light sky glows, and snow falls gently, constantly, for the duration of the scene.)
Projection
APARTMENT #8: INTERIOR, DAY
(Stage right, a washbasin full of water set in the wall with a mirror above it indicates the bathroom in Lucie’s apartment. Lucie stands before it, washing her face. David enters, still hurriedly dressing.)
David: Lucie, listen … ! I really have to go! I promised my secretary I’d be in Montreal at ten o’clock … it’s now ten-thirty and I haven’t even left Q
uebec City … you can imagine how impossibly behind I am –
Lucie: (Can’t keep her hands off him):
That’s too bad, I wanted to look after you. I thought I’d make us some breakfast. I just put some coffee on …
David: That’s very nice of you but I really must go. Well! I … want to thank you for a truly wonderful evening Lucie; I want to say that I –
(François’ voice is heard through the wall, with a pounding on the neighbouring door.)
François: Alain! Ouvre la porte!
David: I want you to know that, last night, I –
François: Ouvre la porte!
David: What’s going on?
Lucie: It’s just next door. No big deal.
François: Ouvre-la ou je la défonce!
David: I see. Well, Lucie, I want to thank you for the truly wonderful evening we had and indeed, to … to say a proper goodbye, rather than to … disappear like thief in the night –
(They look at each other.)
Lucie: David. If I’m … ever in Montreal, can I … call you sometime?
David: I suppose so.
In fact, next week I have more business in Quebec City. Perhaps we could arrange a rendez-vous? I’ll be at the morgue.
Lucie: At the morgue – I’d prefer a restaurant!
David: (serious):
That’s what I meant. Well! all right then –
(As they move to kiss each other goodbye:)
François: Ouvre-moi la porte! Ouvre la porte ou je la défonce! Tu m’e-coeurera pas longtemps tabernac!
David: He’s going to kill him! You should call the police.
Lucie: No, no, really. It’s not a big deal. He’s probably with his boyfriend, and it’s just that they sometimes have … disagreements about things.
David: You call this a disagreement; it sounds like World War Three! (David and Lucie lock eyes.)
François: Lache moi mon tabernac! J’veux pu te voir la face – !
David: Well, I really must be going …
(But David doesn’t move. A long pause while he accepts he doesn’t want to leave, he’s looking at Lucie. She very gently unties her kimono, which slides to the ground, and walks naked into his arms. The lights fade as they start to embrace.)