I've Loved You So Long_2008

I'VE LOVED YOU
    SO LONG
    by
    PHILIPPE CLAUDEL
    1. INT. AIRPORT CAFETERIA - DAY
    A cafeteria in a quiet airport in the provinces. Fe w passers-by. A single woman in her mid-40s (JULIETTE) sits at a table. Sips coffee. Gazes around her as if discovering something new - she often has an expression of eager surprise, as if seeing things, people, places for the first time ever.
    She seems uncomfortable in the clothes she is wearing. At her feet is an old-fashioned suitcase.
    A younger woman (LEA, early 30s) appears behind Juliette. Less than a meter away.
    Juliette hasn't noticed her. Clearly deeply moved, Léa quietly observes her for a few seconds.
    Then, sensing a presence, Juliette looks round.
    Léa leans forward and hugs her tight before Juliette has time to react. Juliette is slightly taken aback.
    She doesn't return the hug at first. Then awkwardly puts her arms round Léa.
    2. INT. LÉA'S CAR - DAY
    Léa is driving. Next to her, Juliette tugs at the sleeves of her sweater.
    LEA
    Is it too big?
    JULIETTE
    No.
    LEA
    I like that sweater. The skirt, too. I often wear them.
    Juliette doesn't reply.
    LEA
    I thought it would be better to wait until you arrived to go shopping for clothes.
    Léa glances at Juliette. Beat. There's something out of place about Juliette. She even sits oddly in the car seat, as if unused to it.
    LEA
    Did you have a good trip?
    JULIETTE
    I don't like flying.
    Léa glances at her again.
    JULIETTE
    Have you lived here long?
    LÉA
    Ten years. I finished my PhD here, met Luc, got married, was offered the job... The usual stuff.
    Juliette is silent. The CAMERA lingers on her face.
    3. INT. LEA'S HOUSE - DAY
    Léa shows Juliette into the house.
    LÉA
    Welcome to our kingdom! The kitchen's over there with the living room opposite, our home offices and a library at the far end. Upstairs, there's just bedrooms. Do you want to see yours?
    Juliette replies by a slight nod and the flicker of a smile. Léa leads the way up the stairs. On the first landing, she shows Juliette into a room.
    LEA
    Will it be okay?
    JULIETTE
    Fine.
    LÉA
    That little door leads to your private bathroom.
    (glances at her watch)
    Yikes, I have to pick up the girls! I'll be back in half an hour. Will you be okay on your own?
    Juliette nods. Léa hurries out. On the landing, she stops in her tracks. Slowly retraces her step, looks at Juliette and says in a serious tone:
    LÉA
    I'm glad you're here.
    Léa gives Juliette a kiss on the cheek and goes. Juliette is expressionless. OS, feet dashing down the stairs. The jangle of keys.
    LÉA (O.S.)
    Take a look round the house, if you want!
    The front door thunks closed. Juliette hasn't moved an inch. She remains motionless like that for a long Moment.
    4. INT. LÉA'S HOUSE - DAY
    MONTAGE of Juliette's tour of the house. In the living room, she strokes a cat dozing on a chair.
    In a study, she runs her hand over the back of a couch. Gazes at framed photos.
    In the kitchen, she pours herself a glass of water. Drinks slowly, leaning back against the fridge.
    Upstairs, Juliette opens a door. A child's bedroom. She closes the door hurriedly.
    She opens another door. A library full of books. With a single bed and two chairs. Sitting in one of the chairs, an elderly man is reading.
    JULIETTE
    I'm sorry, I... I didn't think anyone was home.
    The old man looks up without a word and smiles at her.
    JULIETTE
    I... My name's Juliette. I'm Léa's sister.
    Still not a word. Just a kindly smile.
    JULIETTE
    Like I said, I'm very sorry.
    Smiling, the old man goes back to his book, as if indifferent to her presence.
    5. EXT/INT. LEA'S HOUSE - DAY
    Léa closes the back door of the car. She has a two -year-old girl (EMELIA) in her arms.
    Another little girl, (CLELIS, known as Little Lili) waits on the sidewalk. She looks 8-9 years old. Both girls are Asian.
    LÉA
    Lili, open the gate, will you? You know it's hard when I'm carrying Emelia.
    They go through the gate into the small front garden.
    LILI
    Is Auntie Juliette going to stay with us forever?
    LÉA
    No, sweetheart, just some time. Be nice to her, okay? She's tired. Don't pester her.
    They enter the house.
    LÉA
    Juliette? It's us!
    Juliette comes down the stairs. The kids gaze up at her. As soon as she reaches the bottom step, Lili rushes over.
    LILI
    Hello, Auntie!
    Juliette seems quite distant, or maybe just ill at ease. Lili stands on tiptoes to give her a kiss. Juliette hesitates fractionally before giving her a kiss back. Emelia gurgles the word "Auntie" repeatedly.
    LÉA
    These are my two princesses, Clélis - but everybody calls her Little Lili - and little miss Emelia. Give Juliette a nice smile, sweety!
    LILI
    Auntie, come and see my bedroom!
    LÉA
    Don't start! Go straight into the kitchen. There's milk and biscuits on the table. Chop, chop.
    The two girls run off into the kitchen .
    LÉA
    Did you look round the house?
    JULIETTE
    Yes, I... I went into the library. There was an old man...
    LÉA
    Of course, silly me, I should have warned you. That's Luc's father.
    LILI (O.S.)
    (yells)
    Papy Paul! His brain's gone all mushy and he lost his tongue!
    LÉA
    Lili! He had a bad stroke three years ago. He hasn't spoken a word since. He
    spends all day reading. You'll see, he's a lovely man.
    6. INT. KITCHEN - EVENING
    Dinner time. The whole family is round the table: Léa, the two girls, Juliette, Papy Paul - smiling dumbly - and Luc, Léa's husband, also in his early-mid 30s. The two young girls are very excited. Léa makes a big effort to seem relaxed.
    Juliette still seems a little strange, as if everything is new to her.
    And Luc just seems a bit uptight.
    LUC
    Have you ever been to the Lorraine region before?
    JULIETTE
    No, this is the first time.
    LUC
    Everybody thinks it's just like being in Germany, that it's freezing cold all the time...
    LILI
    It is!
    LUC
    Not all the time.
    LÉA
    Just eat your dinner!
    JULIETTE
    Were you born here?
    LUC
    Yes, but my Dad comes from Poland. He arrived after the war. Isn't that right, Dad?
    The old man merely smiles a little more insistently than usual.
    LÉA
    Luc's Mum was Russian. He married a girl who's half-French, half-English. And our two daughters are Viet. It's all the colors of Benetton in this house.
    LILI
    You've lost your accent, Mummy, but Auntie Juliette still has one.
    LÉA
    Well, she grew up in England.
    LUC
    Anybody see the water jug?
    LÉA
    Katrina broke it and I haven't had time to buy another.
    (to Juliette)
    Katrina's the cleaner. She comes every Thursday. Hide anything fragile. She's always breaking things. That's why we call her Katrina. Because she leaves a trail of devastation behind her! Her real name's Marie-Paule.
    JULIETTE
    (to Luc)
    Léa said you do research at the university?
    LÉA
    (jokily)
    You two sound like we're at a party full of strangers.
    LILI
    Daddy's a lexicolographer.
    LUC
    Lexicographer's good enough for me. Our unit is working on an interactive, intuitive dictionary that can b e reactivated in real time.
    LÉA
    It's you guys that need to reactivate. In seven years, they've only got to 'C'. Even the Académie Française goes faster than that.
    LUC
    There's no comparison. That reminds me, there was a message on the machine from one of your students, a guy called Bamaké or Bakamé, something like that. A problem with his marks, I think.
    LÉA
    Bamakalé? I don't believe it! He won't give up.
    LILI
    Why didn't we ever meet you before, Auntie?
    Everyone falls silent. Juliette doesn't know what to say. Luc glances anxiously at Léa. The two girls don't seem to notice. Papy Paul keeps on eating, smiling away.
    JULIETTE
    I was... away. For a very long time.
    Léa changes the subject. A little too quickly. She hands Juliette a dish.
    LÉA
    Do you want some more?
    JULIETTE
    No, thanks.
    LÉA
    Don't you like it?
    JULIETTE
    It's very good, but...
    LILI
    Where were you away?
    LUC
    (snaps)
    Is this some kind of interrogation! Leave your aunt in peace! Eat!
    7. INT. LÉA & LUC'S BEDROOM - NIGHT
    Léa and Luc are ready for bed.
    LUC
    How long does she plan on staying?
    LÉA
    How should I know? As long as she needs. A few weeks, a few months... Is it a problem?
    LUC
    To be honest, yes. Okay, she's your sister, but...
    LÉA
    But what?
    LUC
    You heard Lili. She wanted to know.
    LÉA
    So?
    LUC
    Her being "away" won't work for long.
    LÉA
    It'll work as long as it works, we'll see.
    LUC
    "We'll see! We'll see!" You make me laugh. What are you going to say to her? The truth?
    LÉA
    Luc, don't give me a hard time. This is our first evening. I've just got my sister back. I don't know if you realize what that means. I've just got her back.
    LUC
    You hardly know her. Just because you went to see her a couple of times for a few hours in the last few months doesn't... You were only a teenager when she -
    LÉA
    Be quiet!
    LUC
    Okay, I'll be quiet. Quiet as a mouse.
    (beat)
    But think of us a little, too.
    8. INT. JULIETTE'S BEDR OOM - NIGHT
    Juliette stands by the window. We can vaguely make out the garden below.
    Juliette is still wearing Léa's clothes Léa. She goes over to the bed. Sits on the edge, as if she plans to spend the whole night like that.
    FADE TO BLACK:
    9. INT. KITCHEN - DAY
    It's total, happy, bubbly chaos in the kitchen. The girls are finishing their breakfast. Léa is a whirl of fevered activity.
    Still in his pyjamas, Papy Paul slurps coffee from a bowl, smiling as always.
    Juliette observes the scene, leaning against the wall with a mug of tea in one hand.
    LÉA
    C'mon, kids! Chop, chop, we're gonna be late!
    LILI
    Aren't we always?
    LÉA
    Emelia, what are you doing? What are you doing? I don't believe it!
    Emelia has smeared yoghurt all over her dress.
    LÉA
    I'll have to change your dress now. Lili, finish up quickly.
    Léa dashes out with Emelia in her arms. Papy Paul leaves also. Juliette and Little Lili are alone.
    LILI
    Don't you eat breakfast?
    JULIETTE
    It depends.
    LILI
    I'm never hungry in the morning. Ever since I was a little girl. Mummy gets so angry! Did you ever see me when I was little, when Mummy and Daddy brought me back from Vietnam?
    JULIETTE
    Sure.
    LILI
    I don't believe you. Your nose is getting longer.
    (beat)
    Daddy!
    Luc has just entered. Little Lili throws her arms round him.
    LUC
    (awkwardly)
    Morning, Juliette. Did you sleep well?
    10.
    Léa and Little Lili get out of the car and join the flow of mothers
    EXT. SCHOOL GATES - DAY
    and children. Léa turns and leans towards the passenger side window.
    LÉA
    You're not coming?
    JULIETTE
    I'll wait here.
    LILI
    'Bye, Auntie!
    Juliette looks overwhelmed by it all. She doesn't answer. Little Lili and Léa walk toward the gates.
    LÉA
    I put some more canteen tickets in your bag.
    LILI
    I noticed.
    LÉA
    Your gym stuff is in there, too. Try not to lose anything this time.
    LILI
    Mummy?
    LÉA
    What?
    LILI
    Auntie's a bit weird, isn't she?
    LÉA
    What makes you say that?
    LILI
    I don't know. She doesn't say much.
    LÉA
    Give her time to adapt, eh? Go on, go!
    A kiss and Little Lili walks into school.
    LÉA
    Ask Madame Rouyer if she found your pink beret!
    11.
    Juliette is in the passenger seat.
    INT. LÉA'S CAR - DAY
    Léa's face looms up at the window. Juliette stares straight ahead, breath ing heavily. Léa walks round and gets in behind the wheel.
    LÉA
    Are you okay?
    Juliette nods several times, her breath rasping slightly.
    LÉA
    Sure?
    JULIETTE
    Yes.
    Léa pulls out and drives in silence for a moment.
    LÉA
    The police station is close to the university. I'm teaching for two hours, but we can meet up after, if you want? There's a nice café just opposite the campus gates.
    JULIETTE
    Okay.
    LÉA
    You know what they want to see you for?
    JULIETTE
    I have to sign in at regular times.
    Beat.
    LÉA
    Didn't you ever see anyone? I mean, did anyone come to see you?
    JULIETTE
    The visitors.
    LÉA
    (beat)
    Do you hate me?
    JULIETTE
    What for?
    LÉA
    For never coming to see you.
    Juliette shrugs.
    LÉA
    I wrote at first.
    JULIETTE
    I never received any letters.
    LÉA
    One evening, Dad saw me. Mummy and him gave me a real roasting. They banned me from writing. They said you... you
    didn't exist. I was a kid then you know.
    JULIETTE
    I meant to tell you...
    LÉA
    What?
    JULIETTE
    It was the social services who came up with the idea to call you just before I got out, not me.
    LÉA
    I'm glad they did.
    Beat.
    LÉA
    I'm glad they did.
    12.
    Juliette sits on a bench with an OLD LADY beside her.
    INT. WAITING ROOM, POLICE STATION - DAY
    The old lady glances at Juliette. Smiles. Juliette smiles back. Beat.
    The old lady glances at her again.
    OLD LADY
    Are you reporting a crime, too?
    JULIETTE
    No.
    Just then, an INSPECTOR appears. Plain clothes, same age as Juliette.
    INSPECTOR
    Juliette Fontaine?
    JULIETTE
    Yes.
    INSPECTOR
    Follow me, please.
    13.
    Juliette sits opposite the Inspector.
    INT. INSPECTOR'S OFFICE - DAY
    He flicks through a file, pores over a couple of pages, goes back a few pages and re-reads, frowning, but not hostile or judgmental - friendly almost. He closes the file.
    INSPECTOR
    I see you're a doctor.
    JULIETTE
    Was. I was struck off the medical register.
    INSPECTOR
    Makes no difference. Once a doctor, always a doctor. It's like me. I'll always be a cop.
    (suddenly)
    You have a pretty name. I don't like my name, but Fontaine is very pretty. It brings to mind gurgling water, streams, rivers... The Orinoco. You know the Orinoco? No?
    He uses his pen to point to a poster on the wall behind him, which shows a broad swathe of an unidentifiable river.
    INSPECTOR
    There'll be no more fountains soon. Municipalities are closing them down - even in tiny villages. They're filled with earth and made into flower beds. Stupid geraniums, usually.
    (switches topic again)
    I won't hassle you. The law says we have to see each other, so we see each other, but I won't give you any bother. Do you have a job?
    JULIETTE
    Not yet.
    INSPECTOR
    A place to stay.
    LÉA
    With my sister.
    INSPECTOR
    That's nice. Family's important. You're lucky. I live alone. Divorced. Small apartment. Small bed. Anyway, you don't want to hear all that.
    He gets up, goes to the door.
    INSPECTOR
    See you in two weeks?
    JULIETTE
    Goodbye.
    INSPECTOR
    Goodbye.

INT/EXT. UNIVERSITY CAMPUS - DAY
    Léa walks down a hallway. Groups of students hang out, shooting the breeze. Léa nods to a colleague going the other way. She enters the staff room, checks through the mail in her box, throws some stuff away. She opens and scans one letter. Then another that makes her roll her eyes.
    LÉA
    Not him again! He's a real pain!
    Another colleague (MICHEL) approaches and whispers into Léa's ear.
    MICHEL
    One of your many lovers writing to you?
    Léa doesn't look round, just keeps reading.
    LÉA
    If only! Bamakalé!
    MICHEL
    Ah ha! Prosper Napoleon Bamakalé, descendant of ancient Togolese royalty, son of a prince of royal blood, repeating his first year for the third time.
    LÉA
    I'm getting fond of him, actually. I keep telling him it's not a mistake, but he doesn't get it.
    MICHEL
    Tell me about it! I had him all last year. Are you off?
    LÉA
    I'm done for the day.
    MICHEL
    I'll walk you to your car.
    They step outside without a break in their conver sation.
    MICHEL
    Have you finished marking your mid - terms?
    LÉA
    Almost. I have ten or so left to do.
    MICHEL
    Lucky you! I haven't even started. Every time I look at the pile on my desk, I feel so exhausted.
    LÉA
    Get a move on though, the Dean
    th wants all the marks in by the 18 .
    MICHEL
    The Dean!
    (changes subject)
    What did you decide for that conference I told you about?
    LÉA
    We'll see.
    Léa sees Juliette waiting by the car.
    LÉA
    You're already here? I thought we were meeting in the café.
    JULIETTE
    It didn't take very long.
    LÉA
    Michel, this is Juliette, my sister. Juliette, this is Michel, a colleague.
    MICHEL
    Hello...
    (to Léa)
    You never told me you had a sister, and a very pretty one at that.
    LÉA
    Don't listen to him. Michel's a specialist
    th on love letters from the 16 century to the present day. And it rubs off on him. (to Michel) Friday of next week, are you free?
    MICHEL
    Why?
    LÉA
    Dinner at our house, with Samir and Kaisha.
    MICHEL
    I should be able to make it. Can I let you know next week?
    LÉA
    Sure. Don't forget your marking.
    MICHEL
    Goodbye, Juliette.
    JULIETTE
    Goodbye.
    LÉA
    C'mon, let's go shopping.
    15.
    Juliette and Léa are sitting at a table with a cup of tea each and
    INT. TEA ROOMS - DAY
    a plate of cakes. On the chair next to them and at their feet are shopping bags f rom various stores.
    LÉA
    Good?
    JULIETTE
    (nods)
    You remember Bouchard's in Rouen?
    LÉA
    No.
    JULIETTE
    It was a bit like this. I used to take you there on a Wednesday after your ballet lesson.
    LÉA
    With Old Mother Stabush?
    JULIETTE
    Fat Old Mother Stabush!
    LÉA
    She couldn't even do points anymore. I remember she had a moustache, too. We were all scared of her.
    JULIETTE
    I was at uni and I always picked you up and took you to Bouchard's. You had a cream puff every time.
    LÉA
    (tremulously)
    I don't remember.
    JULIETTE
    You were only seven or eight. There were always stacks of old ladies in there...
    LÉA
    (like it's a real drama)
    Why don't I remember?
    JULIETTE
    You sat there so proud. A proper little lady with your cream cake.
    LÉA
    (tears up)
    I don't even remember it.
    Juliette suddenly realizes that Léa is distraught.
    JULIETTE
    Don't worry, you were only little.
    16.
    The door opens.
    INT. LITTLE LILI'S BEDROOM - EVENING
    Little Lili and Juliette enter the bedroom, followed by Emelia.
    LILI
    (to Emelia)
    No, you're not coming in! Out! It's my room! You can show her yours later.
    (closes the door)
    Kid sisters are so annoying! Was Mummy like that when she was little?
    JULIETTE
    She wasn't too bad.
    LILI
    Is she your real sister?
    JULIETTE
    Yes.
    LILI
    You're Granny Lizbeth's daughter, too?
    JULIETTE
    That's right.
    LILI
    Okay, this is the doll graveyard.
    She opens a suitcase filled with a dozen dolls.
    LILI
    I don't like dolls, so when someone gives me one, I bury it in here right
    away. That's my computer. I watch DVDs on it mostly and type up my schoolwork. That's what I made for Mother's Day, but Katrina broke it. She says it wasn't her, but she's a liar! Those are my books...
    LÉA (O.S.)
    Dinner time!
    JULIETTE
    Do you read a lot?
    Juliette runs her fingers along the spines of the books. Lingers over one she apparently remembers from her childhood, called Model Little Ladies.
    LILI
    Less than Papy Paul, but quite a lot, yes. This is my secret diary - well, it's not so secret seeing as I leave it out and everybody can read it. I write poems in it. Do you want me to read you one?
    JULIETTE
    (recoils)
    No.
    LILI
    Please, Auntie! Just a little one.
    JULIETTE
    (snaps)
    No. I said no!
    Little Lili looks at her in amazement. Juliette scurries out of the room.

INT. LIVING ROOM - DAY
    Juliette is with a plump, smiling young woman ( the SOCIAL WORKER). They each sit on a couch facing each other across a coffee table.
    SOCIAL WORKER
    You're lucky to have your sister, her family and a home.
    JULIETTE
    So I've been told.
    SOCIAL WORKER
    It's true, though. Most people, when they get out, don't know where to go. Nobody wants them. Their spouses almost always file for divorce.
    JULIETTE
    I got that out of the way before I went in.
    SOCIAL WORKER
    Yes, it's in your file. Right, well, the courses you did at Centrale will be very useful. People always n eed secretaries. Are your IT skills up to speed?
    JULIETTE
    I did all the updates whenever I got the chance.
    SOCIAL WORKER
    That's good. I got you an interview at this company...
    (hands Juliette a card)
    They're looking for someone. You have an appointment with a Monsieur Dupuis. We'll be meeting regularly, but if you have any questions or anything, don't hesitate to call me at the office...
    JULIETTE
    Right.
    SOCIAL WORKER
    I have to go now. You have people you can talk to, and there's only two of us in the department.
    (beat)
    I like the house.
    They get up. Juliette walks her to the door. They say goodbye. Outside, Léa parks her car and gets out. She meets the Social Worker by the gate. They nod. Léa enters.
    LÉA
    Was that the social worker?
    JULIETTE
    Yes.
    LÉA
    She seems sweet enough.
    JULIETTE
    People whose role is to rummage through your life often seem sweet enough.
    Léa glances curiously at her sister. Puts her bag down. Thinks...
    LÉA
    I guess you're right. We had that, too - Luc and me - when we adopted. Visits for this, visits for that, social workers, shrinks, and even an idiot doctor who had Luc walking up and down in his underpants in his office with his arms stretched out! I thought Luc was going to strangle him. He really resented all the questions and prying... Tea?
    18.
    Léa is making tea. Juliette stands close by.
    INT. KITCHEN - DAY
    LÉA
    It took nearly two years for Little Lili and a bit less for Emelia. The first time we spent three months in Vietnam. We fell in love with the place and would have happily stayed longer. We had Little Lili with us almost the whole time, at the hotel, but the bureaucracy and all the formalities took forever.
    KATRINA (O.S.)
    Léa?
    LEA
    Yes, Marie-Paule?
    KATRINA (O.S.)
    Shall I do the crystal, too?
    LÉA
    No, don't worry, leave it! I'll do it! Do the cupboard doors, will you?
    JULIETTE
    How old was Little Lili?
    LÉA
    Two. But she looked half that.
    JULIETTE
    You met her mother?
    LÉA
    No. But I have her address if ever she wants to contact her. That was very important for us. We didn't want her to run into a brick wall later if she tried to find her. Emelia, on the other hand... Well, we got absolutely no information. She'll never know...
    JULIETTE
    How old was she?
    LÉA
    She was tiny! Barely three weeks old.
    Beat.
    JULIETTE
    Was it Luc or you who couldn't have kids?
    LÉA
    Neither of us. We're both fertile.
    (beat)
    I didn't want a child of my own.
    JULIETTE
    Because of me?
    No answer.
    JULIETTE
    Because of what I did?
    Beat.
    LÉA
    I never tried to work out why.
    19.
    MONSIEUR DUPUIS, early 50s, smug, sits behind his desk, talking on
    INT. DUPUIS' OFFICE - DAY
    the phone. Juliette sits opposite him.
    DUPUIS
    Yes, well... So what?... That's not my problem. We pay you to deliver our order, so you deliver it, period! Goodbye!
    He hangs up. Gazes at Juliette.
    DUPUIS
    Right, where were we... I won't beat around the bush. I'm not a charity. I want skilled, hard-working staff. The rest is not my problem. Mrs... what's her name again? Balboukian?
    JULIETTE
    That's right.
    DUPUIS
    ... said that you are up to speed with Excel, DTP and the whole shebang. Right?
    JULIETTE
    I passed all the tests.
    DUPUIS
    And you speak English?
    JULIETTE
    And Spanish.
    DUPUIS
    I don't give a shit about Spanish but we have a lot of clients across the Channel. There's stacks of stuff that needs translating... How long were you in jail?
    JULIETTE
    Fifteen years.
    DUPUIS
    (whistles)
    Jeez! You knock off the President or something?
    No answer.
    DUPUIS
    What did you do?
    Still no answer.
    DUPUIS
    I want to know. What did you do to get so long? Kill someone? Did you?
    JULIETTE
    Yes.
    DUPUIS
    Who? Your husband? Lover? Another woman?
    No answer.
    DUPUIS
    I'm talking to you. Who did you kill?
    JULIETTE
    My son. My six-year-old son.
    The blood seeps out of Dupuis' face. He drops the pencil he was fiddling with and pushes back in his chair. Beat. He gets slowly to his feet.
    DUPUIS
    (rasps)
    Get out! Get the hell out of my office!
    20.
    Juliette is in a small bar, near the window, watching events
    INT. CAFÉ - DAY
    outside and in. At the bar a GUY, who's good-looking and knows it, talks animatedly with another guy and the waitress.
    Nothing of their conversation filters over, except the occasional burst of laughter.
    Juliette glances over a couple of times, when they laugh particularly loudly.
    Eventually, the guy notices Juliette, and watches her while continuing his conversation with the others.
    After a while, he comes over. Without asking, he takes a seat at Juliette's table.
    GUY
    You want my photo?
    Juliette doesn't answer.
    GUY
    Have we met?
    JULIETTE
    I don't think so.
    GUY
    Why were you staring at me then? What do you want?
    JULIETTE
    Nothing. I wasn't staring at you.
    GUY
    Bullshit! You keep eying me up. You looking for a man?
    Juliette smiles, amused by his question. Then, she eyes him up and down.
    21.
    Juliette lies pensively in bed, the sheets pulled up to her chin.
    INT. HOTEL ROOM - DAY
    The guy comes out of the bathroom and finishes dressing.
    GUY
    Was it good?
    Juliette gazes at him before answering.
    JULIETTE
    No. Not at all. But it's okay.
    The guy looks furious. He mumbles something, grabs his jacket and storms out. The camera holds on Juliette, who hasn't moved an inch.
    22.
    Léa and Juliette walk side by side, chatting.
    EXT. PARK - DAY
    The two little girls run ahead.
    Wide shot. Then the CAMERA is right behind them.
    The children are already standing at some animal cages.
    LILI
    Auntie, look! They're monkeys. Sometimes they spit at people.
    They all stop by the monkey cages. Little Lili and Emelia pulls faces.
    LILI
    It's not fair locking them up. They haven't done anything. Prisons are for bad people, not animals? Isn't that so, Mummy? Eh, Auntie?
    Léa grabs Little Lili by the shoulder.
    LÉA
    We're going!
    LILI
    What did I do?
    LÉA
    Nothing, get your sister. We'll go and buy you some waffles.
    The two girls race ahead once more.
    JULIETTE
    Don't be silly.
    Léa doesn't answer. They walk along in silence.
    JULIETTE
    Do you think you can erase fifteen years of your life like that? Just by not talking about it? Do you think I was asleep the whole time, like in some kind of fairy tale? Then, one morning, the good fairy Léa came to wake me up?
    23.
    Léa is in bed, reading a book.
    INT. LÉA & LUC'S BEDROOM - NIGHT
    Léa sits on the edge of the bed, listening to the soccer results on a transistor radio.
    RADIO ANNOUNCER (O.C.)
    Auxerre beat Sochaux 3-2. Lens and Lille drew 2-2 in the big northern derby. Monaco lost to Bordeaux 2-1. Saint-Etienne defeated Marseille 3-0. PSG lost to Nancy at home by 3 goals to 1...
    LUC
    Yes! PSG lost! Ha ha! They can stick it up their asses!
    He flicks off his radio.
    LUC
    What are you doing?
    LÉA
    Can't you see? I'm peeling potatoes.
    LUC
    Very funny. Jeez, 3-1!
    (rubs his hands together)
    Michel's gonna be in such a bad mood.
    Luc lies back and gazes at the ceiling.
    LUC
    Are the chicklets asleep?
    LÉA
    After all the running they did, they were flat out at seven.
    LUC
    What about your sister?
    LÉA
    What about her? Is she asleep, do you mean?
    LUC
    No... What did... I don't know... Do you talk?
    LÉA
    Yes. We talk.
    LUC
    Did you ask her...
    LÉA
    What?
    LUC
    You know... Why? Why she did it?
    LÉA
    (wide-eyed)
    What the hell is wrong with you?
    LUC
    Well, what do you talk about then?
    LÉA
    Sister things.
    LUC
    You're shitting me!
    LÉA
    What do you expect me to say? It all takes time. It's not easy. My parents banished any thought of my sister from my head. Now, I've got her back. It's like a re-birth. What happened before is... Oh, just let me sleep!
    She puts her book down, turns off her light and rolls over.
    24.
    Desserts has been served.
    INT. DINING ROOM - EVENING
    Around the table are Léa, Luc, Papy Paul, Michel, Juliette and another couple - Samir and his younger, pregnant wife, Kaisha . Through the partition doors, we see Little Lili and Emelia asleep on the couches, fully dressed.
    At table, the atmosphere is upbeat with all the guests laughing and joking happily.
    Sitting next to Michel, Juliette seems quite relaxed, too, but still a little reserved.
    Just like Luc, who occasionally glances apprehensively at her.
    The conversation opens O.S., the time it takes for the camera to track past the two kids into the dining room.
    MICHEL (O.S.)
    And you know your father backs me 100% on this one. Don't you, Papy Paul?
    LUC (O.S.)
    You must be joking! Dad's the most loyal supporter Nancy have ever had. Aren't you, Dad?
    He reaches for the salad bowl.
    LÉA
    Watch out! I glued it back together but I'm not promising anything.
    MICHEL
    Katrina?
    Léa nods.
    SAMIR
    Michel, it's outrageous that you've lived in Lorraine for years and you still support a team that's mostly made up of Brazilians.
    MICHEL
    Mostly? Only two Brazilians play for PSG! You don't know what you're talking about! Anyway, you'll bore Juliette!
    JULIETTE
    Unlikely! I love football. I played a lot when I was a teenager.
    LÉA
    Seriously?
    JULIETTE
    You were too small to remember.
    MICHEL
    The perfect woman! Beautiful, intelligent and loves football.
    JULIETTE
    Except for the supporters.
    SAMIR
    Take that!
    MICHEL
    Please, Samir, I won't let an Afghan surgeon paid by al-Qaida to run amok in French hospitals beat me in an argument about football.
    LUC
    Can you play on Sunday?
    KAISHA
    Forget it. He was saying earlier that he has a zillion exams to mark.
    SAMIR
    That's the third week running you've bailed on us.
    MICHEL
    Yeah, it's been three weeks that two hundred papers have been sitting on my desk, waiting for me to mark them.
    JULIETTE
    You play football together?
    The camera closes in on Michel and Juliette. OS, the buzz of the others' conversation.
    MICHEL
    We try. Some days, there's only ten of us and some days forty people turn up to play, which gets a bit crazy. You should come watch us one day.
    JULIETTE
    Why not.
    MICHEL
    Do you like it here?
    Juliette nods.
    MICHEL
    Léa said you lived down south for a long time.
    JULIETTE
    That's right.
    MICHEL
    Where?
    JULIETTE
    Carcassonne.
    MICHEL
    Right, it's pretty down there. The Black Mountain and all that. Toulouse not far away...
    JULIETTE
    Do you come from Paris?
    MICHEL
    Yes, but I got bored of it. I go back as infrequently as possible. Life's good here. If you can put up with lunkheads like these guys!
    They smile at each other.

INT. LIBRARY, LÉA AND LUC'S HOUSE - DAY
    Juliette quietly enters Papy Paul's room. He sits in his usual chair, reading. He looks up and smiles at Juliette.
    JULIETTE
    Can I sit with you a while?
    She sits in the chair opposite him. Papy Paul goes back to his book. Beat. Juliette begins to talk. Papy Paul smiles at her.
    JULIETTE
    Where I was until recently, I always kept a few books near my pillow. I sensed their presence at night when I turned over. It reassured me.
    She leans forward to see the title of the book he's reading: Sylvie by Nerval.
    JULIETTE
    I read and re-read that one. Not so much as a means of escape but like a dream.
    26.
    Juliette is sitting opposite the Inspector as in the previous
    INT. INSPECTOR'S OFFICE - DAY
    scene.
    INSPECTOR
    During the week, I eat canned food mostly - lentils and sausages or beef stew. Those are my favourites. I eat in front of the TV onSometimes, I don't even heat them up. I can't cook to save my life and I can't be bothered to learn. I have some green vegetables at the weekend. Doctor's orders. Do you agree with him?
    JULIETTE
    Definitely. You can't just eat tinned food.
    INSPECTOR
    I guess... What about eggs?
    JULIETTE
    They're okay, but not every day.
    INSPECTOR
    No, I usually boil or fry one up on a Sunday and eat it in front of the TV. Do you watch TV?
    JULIETTE
    No.
    INSPECTOR
    Not even when you were in prison?
    JULIETTE
    No.
    INSPECTOR
    I see. I thought everybody in prison watched TV. I force myself. It's a kind of punishment. There's something totally ugly about it. Like a pile of rubbish that's delivered to your door. Every evening, I feel like the heap's bigger and uglier than the day before. And it smacks me in the face.
    (beat)
    How about you? Everything okay?
    27.
    Juliette waits in a hallway.
    INT. FACULTY BUILDINGS - DAY
    A door opens and students file out.
    Juliette ventures in. Léa stands on a raised dais, gathering her things together, while talking to a black student dressed in suit and tie.
    LÉA
    We'll check as soon as we can, Mr. Bamakalé, but I can't see why the computer would have made a mistake.
    BAMAKALÉ
    It made two last year alone, Miss. And every time, I'm the aggrieved party.
    LÉA
    In any case, the server is down right now, so be patient and stop sending me notes every other day.
    (sees Juliette)
    You'll have to excuse me, I have an appointment.
    Léa goes over to Juliette.
    LÉA
    Am I glad to see you! Let's get out of here. I thought you were going straight home.
    JULIETTE
    I wanted to talk.

INT. CAFÉ - DAY
    Juliette and Léa sit at a table.
    LÉA
    It was a minor intestinal haemorrhage, but they kept him in for tests. He was riddled with cancer. He died two months later.
    JULIETTE
    When exactly?
    LÉA
    March 4, 1999. When we found out he had no chance of pulling through, I wanted to tell you. I had a huge fight with Mummy, and she went and told him. He made me promise never to contact you. He was crying. His voice came out in a feeble rasp. He was hooked up to dozens of tubes. He weighed barely more than fifty kilos. I cried, too. And I promised him. I'm sorry.
    Silence.
    LÉA
    Did you ever think of us, when you were down there?
    JULIETTE
    Down there? That makes it sound so pretty and nice. "Down there" was a prison.
    She shows anger for the first time.
    JULIETTE
    Do you know what a prison is? Hours and days in prison? Years in prison? The outside world leaving you behind. Life leaving you behind. Everything leaving you behind.
    Awkward silence.
    JULIETTE
    (calmer)
    Is she still living at Beaufans?
    LÉA
    Mummy? No. I had to find a home for her. She lived with us, at first, then two years after Dad died, she began to lose her memory. Now, she doesn't recognize anyone. When I go to see her, she thinks I'm a nurse or a neighbour or something.
    JULIETTE
    They never spoke about me?
    Léa shakes her head.
    JULIETTE
    What did they tell other people?
    LÉA
    Anybody who knew the family knew better than to mention it. Anybody else thought I was their only daughter.
    JULIETTE
    They thought that or they were told that?
    LÉA
    They were told that?
    JULIETTE
    Who told them? Mum and Dad?
    LÉA
    Yes.
    JULIETTE
    And you?
    Léa doesn't answer. Tears well in her eyes.
    LÉA
    They filled my head with it.
    Beat. Juliette glances round the bar. Changes the subject.
    JULIETTE
    (lighter)
    I slept with a guy last week.
    LÉA
    You did what?
    JULIETTE
    (smiles)
    I slept with a guy.
    Léa stops crying. Begins to laugh.
    LÉA
    Who? Where?
    JULIETTE
    A guy I met in a café. We got a room in a hotel.
    LÉA
    Just like that?
    JULIETTE
    Just like that.
    They both burst out laughing.
    29.
    In a spare room, piled high with boxes, Juliette and Little Lili
    INT. SPARE ROOM - DAY
    sit side by side at an old piano. Emelia sits on the floor. Juliette teaches Little Lili a song (A la Claire Fontaine). The piano needs tuning.
    JULIETTE
    No, look! G, G, B, B, A, B, G, G, G, B, B, A, B... Try again.
    Little Lili plunks out the tune.
    JULIETTE
    That's better! Spread your fingers more, like that... Good. And hit the keys harder.
    LILI
    It's not easy, Auntie!
    JULIETTE
    Stop! G, G, B, B, A! You have to change note.
    LILI
    I'll never get it right.
    JULIETTE
    Of course, you will! I used to play this with your Mummy, you know.
    LILI
    With Mummy?
    JULIETTE
    Sure.
    LILI
    Mummy played the piano? I don't believe you.
    JULIETTE
    She used to be very good. This tune was one of our favourites.
    LILI
    Because it's called Fontaine like you?
    Juliette smiles and nods.
    LILI
    I never saw Mummy play! She won't let me play piano. She wants me to learn the flute. If she sees us in here, she'll be so angry!
    JULIETTE
    No, she won't. Don't worry.
    30.
    A WOMAN sits behind a desk.
    INT. OFFICE, HOSPITAL - DAY
    Juliette sits opposite her.
    The Woman finishes reading a file and closes it.
    WOMAN
    You have all the qualifications for the job. But in this instance, even if it's just a secretary's job, I have to refer it to the director of the hospital who will make the final decision. If he approves it, nobody here must ever know that you were a doctor. And especially that you... You know what I mean.
    Juliette is about to say something.
    WOMAN
    Don't thank me, I'm not doing it for you.
    31.
    Reclining on the couch, with books and notes all around her, Léa
    INT. LIVING ROOM - DAY
    prepares a lecture.
    Luc enters with a mug of tea and puts it on the coffee table. Léa thanks him without looking up.
    Luc goes over to the window. Outside, Juliette walks in the garden. Little Lili is also out there, running all over the place, but Juliette doesn't pay her any attention.
    LUC
    You wouldn't guess, looking at her.
    LÉA
    (miles away)
    What?
    LUC
    She looks totally normal.
    Léa perks up suddenly, glances out the window, then at Luc.
    LÉA
    Stop it!
    LUC
    What? Maybe you'd prefer to forget what she did, but I can't!
    LÉA
    Leave her alone!
    32.
    A big, oval swimming pool.
    INT. SWIMMING POOL - DAY
    Juliette and Léa float next to each other, arms and legs outstretched.
    JULIETTE
    What did you want to do?
    LÉA
    Me? I couldn't have become a doctor like you. They would have freaked, but there was never any chance of that. I was always more attracted to literature and languages. The day I told them, I could see the relief on their faces.
    (beat)
    The water's great, isn't it?
    Juliette smiles and nods.
    MONSIEUR LUCIEN (O.S.)
    Hello there, Léa!
    The camera pulls back to reveal MONSIEUR LUCIEN, a paunchy 65 -year- old, with a Clark Gable moustache, gold chain and signe t rings, and a spray-on tan.
    LÉA
    Hi, Monsieur Lucien. How are you?
    MONSIEUR LUCIEN
    Very well. Aren't you going to introduce me?
    LÉA
    Of course. This is my sister, Juliette.
    (to Juliette)
    Monsieur Lucien's a regular here.
    MONSIEUR LUCIEN
    Your sister? I see. Hello!
    LÉA
    That's right, my sister. She's off limits, Monsieur Lucien!
    He chuckles and walks on.
    LÉA
    He comes down here to try to chat up women. He'll hit on anyone, young or old.
    JULIETTE
    Does he ever get anywhere?
    LÉA
    You'd be surprised!
    Léa glances at Juliette as she floats in the water, eyes closed. She reaches out her hand and brushes her fingers over a small scar on Juliette's thigh.
    LÉA
    I was running to you for a hug. I jumped up and you tripped over a branch. I can still see the blood pouring from the wound and your face going deathly white... I thought you were going to die, all because of me.
    33.
    Luc sits with his two daughters.
    INT. KITCHEN - DAY
    He hands Emelia a yoghurt, then goes back to reading the sports pages of the paper.
    Little Lili is on Papy Paul's lap, also eating yoghurt.
    LILI
    When's Mummy coming home?
    LUC
    I don't know. Soon.
    LILI
    And Auntie?
    LUC
    I've no idea.
    LILI
    Are they together?
    LILI
    I haven't a clue. Eat up!
    Beat.
    LILI
    Doesn't Auntie Juliette have a job?
    LUC
    Why'd you ask?
    LILI
    No reason. I just thought she must have a job because she's pretty old now.
    Luc has his nose in the paper.
    LILI
    Well? What's her job?
    LUC
    You ask her, smarty-pants. Can't you see I'm trying to do some work?
    34.
    In the darkness, Juliette watches the rain falling on the back
    INT. JULIETTE'S ROOM - EVENING
    garden. There are papers scattered on her bed, and what looks to be a photograph.

INT. SOCIAL WORKER'S OFFICE - DAY
    SOCIAL WORKER
    Well, that just about covers everything. Come back and see me in a few weeks. Meanwhile, I'll call the hospital to see what's happening. It would be the perfect job for you. I'll be in touch.
    She walks to the door with Juliette. Takes out a cigarette. Offers one to Juliette as they go out into the hallway.
    JULIETTE
    No, thanks.
    SOCIAL WORKER
    I was wondering... I read your file and the notes on your trial... You never said a word throughout the investigation and the trial. Why?
    No answer.
    SOCIAL WORKER
    You even refused to talk to the psychologists. Their report runs to two lines. Something about a lethal injection "foreshadowing the choice of silence". I don't really get that.
    JULIETTE
    (furious)
    And you think I'm going to talk to you now?
    She storms off.
    36.
    Léa and Luc walk arm in arm down the road.
    EXT. STREET - EVENING
    LUC
    It's been ages since you dropped by the lab to pick me up.
    LÉA
    Did you miss it?
    LUC
    Yeah, I like it when you surprise me.
    LÉA
    How about a movie and then dinner?
    LUC
    Sure.
    LÉA
    Is there anything you really want to see? There's a Kurosawa retrospective at the Cameo.
    LUC
    No way! Japanese films always put me to sleep.
    LÉA
    Well, they're probably still showing The Shop Around The Corner.
    LUC
    Good idea. I haven't seen that in so long! But that means we'll be back really late, if you want to go for dinner afterwards.
    LÉA
    It'll be fine.
    Beat.
    LUC
    Are you sure Katrina doesn't mind?
    LÉA
    What's Katrina got to do with anything?
    LUC
    She's looking after the girls, isn't she?
    LÉA
    No, I asked Juliette.
    LUC
    You asked your sister to look after our daughters? Have you lost your mind? She killed her kid, remember! That's insane!
    37.
    Luc screeches to a halt outside the house.
    EXT/INT. LUC & LÉA'S HOUSE - EVENING
    He leaps out of the car, races up the path and into the house.
    LUC
    (heart pounding)
    Lili? Emelia? Lili!!!
    Juliette rushes out of the living room with a book in her hand.
    LUC
    (barks)
    Where are my daughters? Where are they?
    JULIETTE
    Upstairs. They're asleep. We had dinner early and they were tired, so...
    Before she can finish, Luc dashes upstairs. Juliette is stunned. Léa arrives.
    JULIETTE
    You're back already? What's wrong with Luc?
    Léa looks awkwardly at her sister.
    38.
    Juliette strolls through the empty museum.
    INT. FINE ARTS MUSEUM - DAY
    She stops in her tracks when she comes to a large ultra -realistic painting of a woman in mourning abou t to throw herself into a grave at the bottom of which lies a coffin.
    Other women hold her back.
    Men in dark suits and top hats stand in the background.
    MICHEL (O.S.)
    It's called Grief.
    Juliette is startled.
    JULIETTE
    You startled me.
    MICHEL
    Hi.
    (beat)
    Impressive, isn't it?
    JULIETTE
    Who painted it?
    MICHEL
    Emile Friant. Famous when he was alive, totally forgotten since his death in the 1930s. I'll show you another of his that is my favourite. Come on...
    They walk into the next room. Michel stops at a small painting showing a young woman's face against a snowy landscape.
    MICHEL
    The first time, I saw it, it blew me away. She looks exactly like a girl I was in love with in my early 20s. I was crazy about her. She didn't even see me, though. This is my reveng e. She's imprisoned in a frame and I can look at her whenever I want. She can't say a thing.
    39.
    Juliette and Michel are having lunch.
    EXT. SIDEWALK CAFÉ - DAY
    MICHEL
    Léa is amazing. She's one of the best specialists in France in her field. But she doesn't have the killer instinct. In our work, you have to trample over people to get ahead.
    JULIETTE
    Do you have that killer instinct?
    MICHEL
    Do I look like I do?
    JULIETTE
    I don't know you well enough.
    MICHEL
    No. I'm not into that anymore.
    JULIETTE
    You were? What changed?
    MICHEL
    Nothing. Everything. Life. Life changes us. Léa told me you're looking for a job.
    JULIETTE
    Yes, I had an interview for a secretary's job at the hospital.
    MICHEL
    Secretary? That's what you do?
    JULIETTE
    Yes. I mean, no. It's complicated.
    MICHEL
    (smiles)
    In that case, I'll shut up.
    (raises his glass)
    To you!
    JULIETTE
    To the girl in the museum!
    MICHEL
    Christ, no!
    They laugh.
    40.
    Léa parks her car.
    INT/EXT. CAR/RETIREMENT HOME - DAY
    LÉA
    Well?
    JULIETTE
    No, I'd rather not. I'll wait here for you.
    Léa grabs a bouquet of flowers off the backseat.
    LÉA
    I won't be long.
    She gets out. Sitting in the car, Juliette glances up at the windows of the building that Léa entered. Eventually, she gets out of the car, paces up and down the pavement, stops, leans against the car. In the garden of the retirement home, old people sit quietly on benches. Suddenly, Léa appears at one of the windows, opening the curtains. An old lady is standing next to her with her back to the window. ANGLE on Juliette. Her eyes fill with tears.
    41.
    Juliette enters. Glances round the café.
    INT. CAFÉ - DAY
    The Inspector gets up and waves to her. Juliette goes over. They sit down.
    INSPECTOR
    You don't mind that I suggested we meet here? I'm sick of my office.
    JULIETTE
    No, I like cafés. It's one of the things I missed most when I was in prison. The noise, the atmosphere, the smoke and the buzz of conversations.
    The Inspector notices she has wet hair.
    INSPECTOR
    Is it raining?
    JULIETTE
    No, I've been swimming.
    INSPECTOR
    You swim? Me, too, but not in swimming pools. I told you about the Orinoco, didn't I?
    JULIETTE
    Yes, the first time we met.
    INSPECTOR
    It's a huge, huge river. Over 1,500 miles long. It never ends. And it's powerful. Rapids, waterfalls, flood plains...
    JULIETTE
    You've seen it for real?
    INSPECTOR
    Not yet. It's a project of mine. We'll see. It's not easy. I have a young daughter. She lives with her mother and I don't see her often. Her mother moved away. And my daughter has moved away from me, too. You know, the Orinoco is a real mystery. Several expeditions have set
    out to find its source and none of them has ever really succeeded. They found little streams, but not the real source. It's fascinating, isn't it? We know everything nowadays, but we can't find the source of a river. (beat) I signed and approved the papers.
    JULIETTE
    Sorry?
    INSPECTOR
    For the job at the hospital. They asked for my opinion.
    JULIETTE
    Thanks.
    INSPECTOR
    No problem.
    (the waiter arrives)
    What will you have?
    42.
    The family dinner is over.
    INT. KITCHEN - EVENING
    Papy Paul leaves the table. Juliette begins washing up.
    Little Lili is finishing her dessert. Léa isn't there.
    LUC
    Lili, when you finish, brush your teeth and straight to bed. Don't wake your sister.
    LILI
    When's Mummy coming home?
    LUC
    After her meeting.
    LILI
    Late?
    LUC
    I expect so. Go on, I'll come up and give you a kiss.
    Little Lili hurries out. Luc and Juliette are alone. Luc seems ill at ease. Juliette keeps on washing up.
    LUC
    How did it go at the bank?
    JULIETTE
    They let me open an account, but they won't give me a chequebook until I get a job.
    LUC
    Any news from the hospital?
    JULIETTE
    Not a word.
    Beat.
    JULIETTE
    Don't worry, Luc, I won't bother you much longer. I'll find something else.
    LUC
    (feebly)
    I never meant for you to think -
    LILI (O.S.)
    I want a story!
    LUC
    (gratefully)
    Coming right up, sweetheart.
    He exits. Juliette wipes the table. Luc reappears, displeased.
    LUC
    She wants you to read her a story.
    43.
    Juliette sits on the bed, reading.
    INT. LITTLE LILI'S BEDROOM - NIGHT
    Little Lili is fast asleep.
    JULIETTE
    "The old man smiled and for a Moment, it seemed to Baji that his host was a boy of his own age, or a young girl, or an infant. In the sky, the silver stars twinkled and the moon rose, as full as a woman's tummy..."
    Juliette realizes that Little Lili is asleep. She quietly closes the book. And gazes at the child. Impassively. Eerily. Eventually, she leans forward and kisses Little Lili with real emotion for the first time. In the doorway, Léa watches. Juliette turns round and sees her. Léa smiles at her sister.
    44.
    Luc loads up the car. The kids are already strapped in the
    EXT. OUTSIDE LÉA'S HOUSE - DAY
    backseat.
    Léa brings out sleeping bags, food and plates. Juliette helps them.
    They all seem excited to be going away.
    LÉA
    Did you bring a sweater? It can get cold out there.
    JULIETTE
    Right, thanks.
    45.
    Juliette comes downstairs with a sweater in one hand.
    INT. HOUSE - DAY
    Before leaving, she stops by Papy Paul's room. He is sitting in a chair, reading as ever.
    JULIETTE
    Will you be okay? You have everyth ing you need?
    (beat)
    We'll be back tomorrow. Goodbye!
    46.
    The family sings happily as they drive along.
    INT. CAR - DAY
    47.
    MONTAGE.
    EXT/INT. FARMHOUSE - DAY
    The car pulls up outside a rundown farmhouse. The duck pond.
    Adults and children playing. More friends arrive. In all, there are over fifteen adults, including Michel, and Samir and his wife. Children bouncing around in the bedrooms. Women busy in the kitchen.
    Men opening bottles of wine. Playing soccer. The table set for dinner. MONTAGE ends.

INT. FARMHOUSE - NIGHT
    An open fire blazes in the hearth. Children are fast asleep, curled up on the floor or in chairs. In one corner, the older children play a game. Around the table, the adults have flushed faces. Empty bottles litter the table. A joint goes round. Everybody's laughing and joking. One guy (GERARD) looks particularly drunk.
    LÉA
    I don't have to like Rohmer! It's a free country.
    GERARD
    I don't see how you can teach literature and not understand Rohmer's movies.
    SAMIR
    Léa didn't say she doesn't underst and them. She said she doesn't like them. There's a subtle difference.
    GERARD
    I can't believe what I'm hearing! I can't help wondering how you explain Racine to your students!
    LÉA
    That's irrelevant. What's Racine got to do with anything?
    GERARD
    Rohmer is the Racine of the 20 th century, but if you guys are too stupid to see it...
    WOMAN #1
    That's totally unfair.
    MICHEL
    (hands Gerard the joint)
    Here, have some of this and chill out. Next, you'll be telling us that Stallone is Shakespeare.
    GERARD
    Screw you! You don't care about anything except soccer. What about you, Juliette? What do you think?
    Her face cupped in her hands, Juliette smiles and shrugs.
    GERARD
    Juliette doesn't think anything. Juliette watches and judges. But who is Juliette? A woman of mystery. A sprite, a goblin... Having been hidden from us all this time, Juliette -
    LUC
    Cut it out! You're a pain in the ass. Go get some fresh air!
    Gerard raps his knife against his glass.
    GERARD
    Ladies and gentlemen, pray silence! I would humbly like to suggest we play a little game. The winner will receive my deepest consideration...
    MAN #1
    You can shove your consideration!
    GERARD
    And a kiss from Juliette.
    LÉA
    Gerard, you can be such an asshole!
    GERARD
    The game is to find the reason why Léa hid her delightful sister from us for the last two hundred years. Where was Juliette? What was Juliette doing?
    SAMIR
    Knock it off!
    GERARD
    Was Juliette on the other side of the world? Was she not speaking to Léa? Was Juliette...
    MICHEL
    Cut it out, Gerard.
    GERARD
    ...hidden somewhere in Switzerland? In a convent? Was Juliette...
    LUC
    You're getting on everybody's nerves!
    GERARD
    ... a lion tamer in a circus, a Mossad spy, an amnesic? Answer us, Juliette! Answer us!
    LÉA
    Shut the fuck up, Gerard!
    LUC
    Be quiet, or I'll belt you!
    GERARD
    Let Juliette speak! For once, I have a heroine from a novel in front of me, I want to hear her tell me...
    MICHEL
    That you're an asshole!
    GERARD
    The truth! Juliette disappears. Juliette reappears. Juliette? Juliette?
    MAN #1
    Go to bed!
    GERARD
    Not before I know where Juliette has been. The beautiful Juliette! Juliette! Juliette!
    He gazes at her. Gradually, everybody else falls silent.
    JULIETTE
    (deadpan)
    I was in prison. Fifteen years. I killed my son.
    Silence. Suddenly, Gerard bursts out laughing. Everybody else joins in, except Léa, Luc and Michel.
    MAN #2
    That'll teach you, Gerard!
    WOMAN #1
    Well done, Juliette!
    SAMIR
    What do you have to say now, loudmouth?
    GERARD
    Okay, she wins. I give up.
    The atmosphere lightens again. Juliette discreetly ups and leaves. Léa and Luc glance at each other.

EXT. LAKESIDE - NIGHT
    Juliette stands by the lake. It's a very dark night. O.S., laughter filters from the farmhouse. Then, footsteps. Michel draws level with Juliette. Puts a hand on her shoulder. She shrugs it off.
    MICHEL
    Sorry about him. He's an ass when he's drunk, but he's a good guy.
    Beat.
    MICHEL
    They all think you were joking. I...
    (pause)
    I'm sure you weren't. Before I got my job at the university, I taught in prisons for ten years. I rarely talk about it... I used to go in three times a week. And I'd come out three times a week. That changed my whole life, my whole way of looking at things, people, the sky, passing time, coming and going, being in the street, everything. I stopped being so certain of things, making judgments the way people always do. Everybody I met behind bars, it seemed like they were just like me. They could have been me and I could have been them. It's a fine line sometimes.
    50.
    Michel parks outside the house.
    EXT. OUTSIDE LÉA'S HOUSE - NIGHT
    Juliette is in the passenger seat.
    MICHEL
    Will you be okay?
    JULIETTE
    Yes. Thanks for the ride.
    They gaze at each other. Michel reaches out to caress her cheek.
    JULIETTE
    Don't... Please... I'm still... a long way away.
    She gets out of the car.
    51.
    Léa leads a discussion with a dozen students.
    INT. FACULTY BUILDINGS - DAY
    She's tense, irritable.
    The STUDENT she is debating with is very calm and measured. As their argument develops, the other students glance at each other with raised eyebrows.
    LÉA
    That's only true of Raskolnikov! You can't extend the notion of redemptive guilt to humanity in general and suggest that each murder contains its own redemption.
    STUDENT
    Yet the aim of the novelist is to reconstitute the world. Dostoyevsky is no exception.
    LÉA
    In the case of this novel, you know full well that the narration is impersonal and, moreover, incomplete, as if the author refused to put forward a single worldview because he knows that there are numerous interpretations and motivations. And numerous shades of truth.
    STUDENT
    But the first draft is in the first person. One can deduce, therefore, that the initial project was indeed to portray a single soul that might give the reader an intimate yet universal insight into murder and murderers.
    Léa is really wound up. Her students are shocked.
    LÉA
    You don't know what you're talking about! What do you know about murder and murderers!
    I...:
    LÉA
    And what did Dostoyevsky know about it deep down? Well? Nothing! Nada! Zilch! Even masterpieces are no more than hypotheses, simplistic extrapolations that are nothing compared to true life. Nothing. Got that? If you stopped thinking a book is the last word on something, you wouldn't spout so much bullshit!
    Stunned silence. Léa pulls herself together.
    LÉA
    I... I am terribly sorry. I apologize. I don't know what...
    She grabs her notes and hurries out.
    52.
    Léa rushes down a hallway.
    INT. FACULTY BUILDING - DAY
    When she reaches her office, she finds Bamakalé sitting on a bench outside.
    He is impeccably dressed as always. As soon as he sees her, he jumps to his feet.
    BAMAKALÉ
    Good morning, I wondered if I -
    LÉA
    Not now! This is not the time!
    She rushes into her office and slams the door. Bamakalé stares at it in dismay.
    53.
    Holding her head in her hands, Léa sobs.
    INT. LÉA'S OFFICE - DAY
    54.
    Juliette follows the woman who interviewed her for the job earlier.
    INT. TYPING POOL, HOSPITAL - DAY
    She introduces Juliette to a couple of other secretaries, typing away at their computers.
    They come to an empty desk.
    WOMAN
    This is your desk. Your job is essentially to type up medical reports and perhaps help out your colleagues from time to time. The trial period is three weeks. At the end of that period, the director will inform you of his decision. I'll let you get settled in.
    She walks away, stops and backtracks.
    WOMAN
    I rely on you to be discreet, of course.
    55.
    Léa arrives home. Dumps grocery bags in the hall. Listens.
    INT. LÉA'S HOUSE - DAY
    O.S., on the piano, the tune Juliette taught Little Lili in an earlier scene.
    It clearly perturbs Léa.
    She hurries upstairs to the spare room where Little Lili is playing with Juliette next to her. Emelia sits on the floor. Papy Paul is in one corner, smiling. Little Lili stops and runs over to hug her mother.
    LILI
    Mummy! Come and play! Play, Mummy! Auntie said you used to be very good!
    Léa hesitates. Juliette shuffles over on the piano stool, and nods to her to sit down. Léa still hesitates. Then goes over and sits at the piano. Each movement seems deeply thought -out. She gazes at the piano like a long -lost friend. Then her sister. They begin playing together. Juliette starts to sing.
    JULIETTE
    A la claire fontaine m'en allant promener J'ai trouvé l'eau si claire Que je m'y suis baignée… (At the fountain as I was walking by The water was so clear That I want for a swim...)
    Léa joins in.
    JULIETTE & LEA
    Il y a longtemps que je t'aime
    jamais je ne t'oublierai… (I've loved you so long I can never forget you...) J'ai trouvé l'eau si claire Que je m'y suis baignée… A la feuille d'un chêne Je me suis essuyée (The water was so clear That I want for a swim I found an oak leaf to use to dry myself) Il y a longtemps que je t'aime jamais je ne t'oublierai… (I've loved you so long I can never forget you...) Lalala lalala lalalalalala Lalala lalalala Lalala lalala lalalalalala… The children applaud. Papy Paul looks delighted. The girls hug their mother and kiss her. Léa and Juliette glance at each other, deeply moved. Juliette runs her hand down Léa's arm.
    56.
    A headset in her ears, Juliette typ es up a report.
    INT. TYPING POOL, HOSPITAL - DAY
    Three young male DOCTORS walk over. One of them lobs a tape onto Juliette's desk.
    DOCTOR
    Type that and send it over to Cardiology.
    Juliette removes her headset.
    JULIETTE
    Sorry?
    DOCTOR
    (irritably)
    I said, type that now and send it over to Cardio.
    JULIETTE
    The report I'm typing is urgent, as well.
    DOCTOR
    Who the hell do you think you are? You're just a secretary. Do what I say. I want that over there in fifteen minutes. Got it?
    JULIETTE
    Fine.
    They walk away.
    DOCTOR
    (mutters to his colleagues)
    They're hiring them older than before and more stupid than ever!
    57.
    The Inspector and Juliette sit at a table.
    INT. CAFÉ - DAY
    INSPECTOR
    At my age, it's not easy meeting someone new. I don't like going out. And being a cop scares people off. But I could be at Social Services, it'd be the same. I sit at a desk all day and process paperwork. I'd be no use trying to catch a thief! (beat) This is where I met my wife. They've redecorated, but it's basically still the same. Where did you meet your husband?
    JULIETTE
    At college.
    INSPECTOR
    He was a doctor, too?
    JULIETTE
    No, he dropped out after two years. He got a job supervising a team of health visitors.
    INSPECTOR
    When did you last see him?
    JULIETTE
    At the trial. He testified against me.
    INSPECTOR
    Like my wife. Ever since, she's never... She sends my daughter here by plane or train with a label round her neck like a parcel.
    (beat)
    I could still describe exactly how she was dressed the first time we met.
    (beat)
    How's work?
    JULIETTE
    Fine.
    INSPECTOR
    Nobody giving you any trouble?
    JULIETTE
    No...
    INSPECTOR
    By the way, I think I'll soon be... You remember my Orinoco project... After all this time, it's much clearer in my mind now. Deep down, there's
    nothing and nobody to make it worth me staying here.
    58.
    Juliette sits with Emelia on her lap, flicking through a picture
    INT. KITCHEN - EVENING
    book, pointing to a picture and saying the word out loud several times.
    Emelia tries to repeat the words.
    Suddenly, there's a loud crash upstairs, followed by screams.
    59.
    Luc writhes in pain on the floor, clutching his shoulder.
    INT. LÉA & LUC'S BEDROOM - EVENING
    Nearby, scattered tools and a stepladder lying on its side.
    LÉA
    You idiot!
    LUC
    Will you shut up? It hurts.
    Little Lili pokes her head round the door.
    LILI
    Daddy! What happened?
    Juliette rushes in, with Emelia in her arms. She puts Emelia down and kneels next to Luc. All her doctor's reflexes come flooding back.
    JULIETTE
    Where does it hurt?
    LUC
    My shoulder.
    Juliette begins examining him. Papy Paul peeks in.
    LÉA
    I told you to leave it! You're no good with a hammer.
    JULIETTE
    It's okay. Dislocated, that's all. I'll put it back. It'll hurt but once it's in, that's it.
    Juliette manipulates his shoulder with great assurance. Little Lili watches, wide-eyed.
    LUC
    Ouch!
    LILI
    Daddy!
    JULIETTE
    Feel better?
    Luc flexes his shoulder.
    LUC
    Yes... Yes... lots. Thanks, Juliette.
    Papy Paul ducks out of the room.
    LÉA
    Next time, remember you're useless at DIY.
    LILI
    Where'd you learn to do that, Auntie?
    Juliette, Léa and Luc glance at each other.
    JULIETTE
    On TV! You learn all kinds of useful things watching TV!
    LILI
    See, Mummy, the TV's not "inane", like you always say it is.
    60.
    Juliette and Léa hold onto the side, kicking their legs.
    INT. SWIMMING POOL - DAY
    LÉA
    With the kids, it's hard to keep up my research. I go to less conferences, I publish less... But I like working here. I get on with my colleagues. Michel, for example, is the kind of guy who'll never let you down.
    JULIETTE
    Has he always been single?
    LÉA
    No... I don't think so. Actually, I don't know. He's actually pretty secretive.
    (beat)
    I don't believe it! Check that out! Look who Monsieur Lucien has on his arm.
    Paunchy Monsieur Lucien struts along in the company of a beautiful 25-year-old. He winks at Juliette and Léa.
    LÉA
    That's wild! There's always hope when you're a guy.
    JULIETTE
    Had you forgotten me?
    LÉA
    What's that?
    JULIETTE
    You forgot me all those years, didn't you?
    Léa gazes intensely at her sister.
    61.
    Léa places a heavy box on the desk, under Juliette's nose.
    INT. LÉA'S HOME OFFICE - DAY
    LÉA
    Open it. Juliette hesitates, then opens the box. It's full of diaries.
    LÉA
    Take one out. It doesn't matter which.
    Juliette reaches in and pulls out a diary.
    LÉA
    Open it at any page.
    Juliette opens the diary. Under each date, Juliette's name is handwritten, follo wed by a number: Juliette 918, Juliette 919... Juliette takes out another diary. Same thing: Juliette 3127, Juliette 3128...
    LÉA
    That was the first thing I did every morning. Write your name and the number of days you'd been gone.
    (beat)
    I suppose you could say it only took a second and it was just a few letters and figures, but I thought about you so hard in those few moments every day. Every morning, we were reunited.
    62.
    Juliette sits at her computer.
    INT. TYPING POOL, HOSPITAL - DAY
    The phone rings. She picks up.
    JULIETTE
    Yes... Good morning, sir... Yes... I'll be right there.

INT. DIRECTOR'S OFFICE - DAY
    The DIRECTOR stands glancing out the window, as if to avoid meeting Juliette's eyes. She sits facing him. On his desk, framed photos of his wife, four chi ldren, three dogs, two horses...
    DIRECTOR
    It's called teamwork. Even if you each have your individual tasks to do, there has to be unity, team spirit. We're not machines. Several of your co-workers say you are cold and distant. You never talk to anyone apparently. It's disappointing. Very disappointing.
    JULIETTE
    Does that mean I'm out of a job?
    DIRECTOR
    Of course not! I didn't say that, did I? Just don't forget you're on trial. Make an effort. That's all I'm saying. Try to be less... withdrawn. Open up a bit.
    (beat)
    Of course, I understand that it's not... I mean, I understand but...
    JULIETTE
    What do you understand?
    The Director has no answer.
    64.
    Léa tucks Emelia in. She is already asleep.
    INT. EMELIA & LITTLE LILI'S ROOMS - NIGHT
    Léa kisses her, turns on a nightlight and slips out. She goes into Little Lili's room and finds her daughter reading.
    LÉA
    Okay, Little Lili, lights out now.
    Léa closes the book, puts it on the nightstand, kisses her daughter and is about to turn out the light...
    LILI
    No, please! Leave it on!
    LÉA
    Alright, sweetheart. Goodnight.
    LILI
    Mummy, I want to ask you something.
    Léa stops and turns round.
    LILI
    When you and Auntie Juliette were little, did you spend a lot of time together?
    LÉA
    Quite a lot, yes.
    LILI
    But Auntie Juliette was much ol der than you.
    Léa nods.
    LILI
    So she protected you?
    LÉA
    Against absolutely everything.
    LILI
    So why did she stop one day?
    LÉA
    What do you mean?
    LILI
    Why'd she go away for so long and leave you all alone?
    LÉA
    Because I wasn't a little girl anymore. Sleep now.
    She kisses Little Lili and turns to leave.
    LILI
    We all need protecting, don't we, though? Even when we're grown up.
    LÉA
    (laughs)
    That's what your Dad's for.
    LILI
    (laughs too)
    I didn't think of that.
    LÉA
    Goodnight.
    LILI
    You know, Mummy, I really like Aunti e Juliette.
    LÉA
    Me, too, sweetheart.
    LILI
    You can tell she's your sister because she's really kind, like you. It's a shame she never had children, though.
    LÉA
    What makes you say that?
    LILI
    I'd have liked to have some cousins.
    LÉA
    Go to sleep.
    65.
    Juliette and Michel come out of a cinema.
    EXT. STREETS - NIGHT
    MICHEL
    Do you want to go for a drink?
    JULIETTE
    It's a warm night. Let's walk.
    They walk along in silence, apparently happy together, here, now.
    JULIETTE
    For two years, the only walking I got to do was in a tiny triangular courtyard with big, high walls... I counted my steps, every step I took. And kept on counting later when I was at Centrale. The guards called me The Walker. But the other inmates called me Nobody.
    Michel looks quizzically.
    JULIETTE
    Short for Nobody's Home.
    MICHEL
    There's a Giono novel - I'm pretty sure it's his last - that has a great female character, who's withdrawn into silence. She calls herself Nobody. The main character falls madly in love with her...
    JULIETTE
    Do you see the world through books you've read?
    MICHEL
    Books have been a big help to me. Sometimes, they are better friends than people, don't you find?
    He glances at her as they walk along. Eventually, she turns to look at him, too.
    66.
    Breakfast.
    INT. KITCHEN - DAY
    Everybody's in the kitchen.
    Luc is about to leave for work. He steals a slice of toast from Little Lili's plate.
    LILI
    Hey! That's mine!
    LUC
    I know but I'm terribly late. I gotta run. Bye, everybody! And don't wait up for me, I have a meeting that will finish late.
    LÉA
    You have a meeting? So do I. I won't be home either. I told you about it.
    LILI
    What about us?
    LUC
    Katrina will look after you. Mummy's going to call her.
    LÉA
    You're out of luck, sunshine. Katrina's away wreaking destruction and havoc at her mother-in-law's.
    LILI
    Papy Paul can look after us. Can't you, Papy!
    Luc and Léa share a glance. He hesitates. Léa leaves him on his own.
    LUC
    Maybe... Juliette could look after you. If she doesn't mind, of course.
    (to Juliette)
    But maybe you have other plans?
    JULIETTE
    No, it'd be a pleasure.
    LILI & EMELIA
    Yes! Thank you, Auntie!

INT. MICHEL'S OFFICE, FACULTY BLDG - DAY
    Michel types his students' marks out of twenty. Léa dictates.
    LEA
    Laure Sourdillon, 10. Eric Suffren, 3. Anne Sulkovic, 8. Laurent Taskon, 11. Frédéric Taskon, 6. Cécile Tramelle, 18. No way! Did she bribe you?
    MICHEL
    I'm using a new system of bonus points. Female? Plus 3. Belly showing? Plus 2. Thong showing? Plus 5. No bra? Plus 4. Belly button pierced? Plus 1.
    LÉA
    You slimeball! I'll tell Juliette on you. She was beginning to like you.
    MICHEL
    She told you that?
    LÉA
    Perhaps.
    MICHEL
    Seriously, what did she say?
    LÉA
    Look at you! You're like you're 15 years old! You are just so cute at times!
    (beat)
    Frédéric Trousseau, 8. Ludivine Trussi, 5. Christian-Edmé Ulrich, 9.
    MICHEL
    C'mon, Léa, tell me!
    LÉA
    (shakes her head, smiles)
    Sophie Uzes, 3. Dogun Uzbek, 14. Louis Valdenaire, 7. Ludovic Vogel, 11...
    68.
    Juliette tiptoes out of Little Lili's room.
    INT. LÉA'S HOUSE - NIGHT
    Closes the door and puts a book of fairy tale s down on a chair. She goes downstairs.
    Sees a light under Papy Paul's door. Knocks gently and enters.
    JULIETTE
    May I?
    Papy Paul smiles at her. Juliette sits opposite him and smiles back. Clearly, she finds his presence soothing. Papy Paul goes back to his book. Juliette sits, saying nothing. From time to time, he looks up and smiles at her. O.S., a key in the front door. Juliette gets up and says goodnight. In the hall, Léa is home. The two sisters talk in whispers.
    LÉA
    How did it go? Are they asleep?
    JULIETTE
    Like logs.
    LÉA
    I'm going to go to bed, too. I'm exhausted. Is Luc home?
    JULIETTE
    Not yet.
    LÉA
    You're still coming tomorrow?
    Beat. Juliette nods.
    69.
    Juliette and Léa walk down a hallway, past old folks in blue
    INT. RETIREMENT HOME - DAY
    towelling robes. Léa carries a bouquet of flowers.
    They reach a door. Léa knocks and enters. Juliette hovers on the threshold.
    In the room, their MOTHER spins round when she hears the door open.
    LÉA
    Hi, Mummy!
    MOTHER
    (strong English accent)
    I already told you I don't need anything!
    LÉA
    It's me, Mum.
    MOTHER
    Who are you? I don't know you. If you don't leave this minute, I'll call for help!
    LEA
    Mum, it's me, Léa. Your daughter.
    MOTHER
    Oh, I know who you are. I told you before, I don't need anything. I have at least three vacuum cleaners already, why would I need another one? At my age.
    LÉA
    I brought you some flowers.
    MOTHER
    Don't think you'll get round me like that!
    Juliette has ventured a few feet inside the door.
    MOTHER
    (re. Juliette)
    Is she with you?
    LÉA
    Mum...
    MOTHER
    Stop calling me that! It's very annoying! Don't just stand there, fetch a vase! Everything I have gets stolen here.
    Léa glances at Juliette, then leaves the room. Their mother sits in a chair.
    MOTHER
    It's a funny job you do. Pestering people all day. Can't you take your junk somewhere else?
    She leans forward, takes her head in both hands and shakes it. Stops. Looks up and stares straight at Juliette. Her face is unrecognizable. Her lips quiver.
    MOTHER
    (gently, in English)
    My darling Juliette... Are you back from school already? Come and give me a big kiss! Come and kiss your Mummy!
    Juliette freezes.
    MOTHER
    Come on, sweety. What's wrong? Come on... I am so happy to see you! I am so happy!
    The old lady holds her hand out. Juliette eventually takes hold of it. Her mother pulls her towards her. Juliette is caught between astonishment, the urge to run and great emotion.
    MOTHER
    I'm all alone here, you know. They locked me up! I'm all, all alone. Take me home with you. Take me home, please.
    She sobs. Juliette strokes her hair and forehead. Just then, Léa returns. She stops in her tracks. Eventually, her mother looks up. She is transformed again.
    MOTHER
    (in French)
    That's quite enough!
    (notices Juliette standing beside her)
    What are you doing, pressing up against me? You've got a nerve! Get out of here now, both of you! Go on! Out!
    70.
    MONTAGE.
    EXT. HOSPITAL/STREET S - DAY
    Juliette comes out of the hospital. She catches a bus into town. Stands the whole way. It's full. She walks down a busy street in the town centre. She dials a number on a public phone. MONTAGE ends.
    JULIETTE
    Michel? Hi, it's Juliette.
    MICHEL (O.S.)
    Hi, there! How are you doing?
    JULIETTE
    Fine. I'm in town. I thought maybe we could meet up?
    MICHEL (O.S.)
    I'm really sorry. I have a meeting starting in half an hour and...
    JULIETTE
    After your meeting maybe... I can go for a walk in the meantime.
    MICHEL (O.S.)
    It'll probably drag on. And I promised a friend I'd meet him afterwards. Another time, okay?
    JULIETTE
    (colder)
    Okay. Sorry to bother you. Goodbye.
    MICHEL (O.S.)
    Goodbye, Juliette.
    She hangs up, her disappointment accentuated by the fact that Michel was clearly not telling her something.
    71.
    A fairly cramped space. Juliette stands at the bar, a glass of red
    INT. BAR - EVENING
    wine in front of her. Sips at it.
    Lined up at the bar, other customers sip their beer or Ricard in much the same way, lost in their drink or their thoughts.
    Nobody talks. Nobody pays any attention to anyone else. In the background, the radio plays. The Bar Owner does his accounts.
    A banal, but odd glimpse of daily human existence.
    72.
    Juliette pushes the gate open and walks up to the house.
    EXT/INT. LÉA'S HOUSE - NIGHT
    Inside the house, silence. No lights are on.
    JULIETTE
    Hello? Anyone home?
    She knocks on Papy Paul's door. No answer. She glances in: his chair is empty. Back in the hallway, Juliette calls out again. No answer. She heads into the living room. Léa, Luc, the girls, Papy Paul, Samir, his (very pregnant) wife and Michel leap up and start singing.
    ALL
    (except Papy Paul)
    Happy birthday to you! Happy birthday to you! Happy birthday, dear Juliette! Happy birthday to you!
    They cheer and applaud. The two girls carry over a huge gift -wrapped present. Juliette tries to say something, but the words catch in her throat . Her eyes fill with tears. She laughs.
    73.
    Michel is stretched out on the couch.
    INT. MICHEL'S APARTMENT - DAY
    Juliette sits on the floor, her head resting on Michel's thigh.
    JULIETTE
    The worst thing, maybe, was the end, the last few weeks before it was ove r and after they told me I was being released. I started having nightmares. Always the same one, in fact. I had my case packed. I stepped outside and found myself in the middle of nowhere. There was nothing and nobody there. Just emptiness. One day, they told me I had a visitor. I thought it was a mistake. It was the first time ever. There was a young woman waiting to see me. She smiled. It was Léa. I listened to her without saying a word. She promised she'd come again. That night, I promised myself I'd refuse to see her. She belonged to a part of my life that had died. Then, just before I went to sleep, I thought back to when she was little. Lala, we used to call her. The gaps in her teeth, her smile, her fringe that would never stay in the same place... And her hand in mine. It was that little girl that made me decide to come back.
    74.
    Léa and Juliette stand side by side, drying their hair in the
    INT. LOCKER ROOM, SWIMMING POOL - DAY
    mirror.
    LÉA
    Luc wants to take a trip to the mountains. "Top up the red blood cells," as he puts it. Being fit for his stupid soccer games is all that matters to him.
    Léa pauses and gazes at Juliette's face in the mirror. They stare at each other's reflection as if seeking the answer to a much deeper mystery.
    LÉA
    When I was little, I so wanted to be like you.
    JULIETTE
    And now?
    Beat. They go back to drying their hair.
    LÉA
    You know what I thought about last night? The Green House at Hossegor. When was the last time we were there? The year I broke my wrist?
    JULIETTE
    I went back once more after that.
    Léa glances quizzically at her sister, but a bunch of women passing noisily by, O.S., stop her pressing the issue. The women's voices and laughter eventually fade.
    LÉA
    I thought it had been knocked down.
    JULIETTE
    Fifteen years ago, it was still standing.
    Léa is intrigued now.
    JULIETTE
    I took Pierre there.
    Léa gazes at Juliette's reflection, but doesn't dare ask.
    75.
    Little Lili watches admiringly as Juliette does her make -up in her
    INT. LÉA'S HOUSE - EVENING
    room. Léa peeks round the door. She looks a million dollars.
    They all go downstairs where Luc has Emelia in his arms.
    LILI
    You look very beautiful, Auntie!
    JULIETTE
    Do you think so?
    She picks up two pairs of earrings.
    JULIETTE
    These ones or these ones?
    LILI
    Mmmm... The red ones! After the restaurant, which nightclub are you going to?
    LÉA
    That's for us to know and you to find out.
    (to Juliette)
    Are you ready?
    JULIETTE
    Absolutely!
    LILI
    Can you dance, Auntie?
    JULIETTE
    Of course. I'll teach you if you want.
    LILI
    Yes! I'd love to come with you.
    LUC
    You're still a bit on the young side, cupcake.
    LILI
    I'm not a cupcake and I'm eight years old!
    LÉA
    (chants)
    Eight years old! Eight years old! Eight years old!
    Papy Paul pokes his head out of his room, smiling.
    LÉA
    (to the girls)
    See you, chickadees! Be good. Don't give your father a hard time. He looks exhausted already.
    She gives them each a kiss. Luc whispers in her ear.
    LUC
    Don't come home too late, will you?
    LÉA
    You can bank on it, sweety!
    She gives him one last kiss and a sly wink.

INT. NIGHTCLUB - NIGHT
    Juliette and Léa are caught in the throng in the club entrance. Chatter. Laughter. Throbbing music. Léa can't stop grinning as they shuffle towards the dance floor. Behind her, as the music gets louder, Juliette looks increasingly uncomfortable. Léa doesn't notice a thing. The camera closes in on her. After a few seconds, she glances round. Juliette has disappeared.

EXT. PARKING LOT, NIGHTCLUB - NIGHT
    Léa rushes out of the club, calling out Juliette's name. Finally, she hears sobbing coming fro m around a corner. Juliette is squatting on the ground, crying her eyes out. Léa hunkers down and takes her in her arms. Juliette clings to Léa like a life buoy.
    78.
    Léa drives.
    INT. CAR - NIGHT
    Juliette sits in a ball in the passenger seat. Haggard, tear - streaked cheeks.
    Léa eventually breaks the silence.
    LÉA
    You can tell me anything. You can talk to me...
    No reaction.
    LÉA
    I'm not other people.
    Juliette glances at her sister.
    LÉA
    Juliette, I'm not other people.
    79.
    Juliette sits on the same bench in the waiting room as in a
    INT. POLICE STATION - DAY
    previous scene. Two people sit nearby.
    A YOUNG INSPECTOR arrives.
    YOUNG INSPECTOR
    (reads from a card)
    Juliette Fontaine?
    JULIETTE
    Yes.
    YOUNG INSPECTOR
    Follow me.
    She follows him down the hallway. He doesn't say a word. He shows her into the same office as before. But it doesn't look the same. The Orinoco poster has been replaced by an official National Police Force poster. The young Inspector sits at the desk and opens a file. Juliette hesitates and decides t o stay standing. He talks without taking his eyes off the file.
    YOUNG INSPECTOR
    My name is Segral. I'm your new probation officer, replacing Inspector Fauré.
    JULIETTE
    (brightly)
    So he finally did it? He went to see the Orinoco?
    The Inspector tears his eyes from the file and stares at Juliette as if she's totally nuts.
    YOUNG INSPECTOR
    If going to see the Orinoco means blowing your brains out, yes, he finally did it. Ten days ago.
    Juliette gasps and grabs the back of the chair in front of her.
    80.
    Juliette walks home.
    EXT. OUTSIDE LÉA'S HOUSE - DAY
    Outside the house, Léa is about to get into the car. The girls and Luc are already in their seats.
    LÉA
    Juliette! Hurry! We're going to the clinic! Kaisha gave birth last night. A little girl. We're going to see her .
    Juliette shakes her head.
    LÉA
    Come on, you can have a nap later if you're tired. The girls are so excited!
    JULIETTE
    Forget it.
    Juliette heads up the path to the house. Léa gazes at her blankly.

INT. JULIETTE'S BEDR OOM - DAY
    Juliette lies on her bed, clasping a photo and a sheet of paper to her chest.
    82.
    Juliette is hard at work.
    INT. TYPING POOL - DAY
    SECRETARY (O.S.)
    The Director wants to see you. He asked me to tell you. Juliette glances up anxiously.
    JULIETTE
    Thanks... I'll be right there.
    83.
    On a table in the garden, Léa, Juliette and the two girls are
    EXT. GARDEN, LÉA'S HOUSE - DAY
    making acacia blossom fritters. They all seem in good spirits.
    Papy Paul reclines in a deck chair, reading and smiling.
    JULIETTE
    No, Little Lili, not like that! That's too much sugar. Two spoonfuls is enough, I said!
    LÉA
    Emelia, you're getting flour everywhere!
    LILI
    Is that okay, Auntie?
    JULIETTE
    That's perfect. Now, pour in the milk.
    LILI
    Do you think we'll have enough flowers?
    JULIETTE
    Sure, and if we don't, we can pick some more.
    Luc arrives home from work.
    LUC
    (surprised)
    Good grief, it's a party!
    (kisses Léa)
    What are we celebrating?
    Juliette and Léa glance at each other and smile.
    LÉA
    You tell him.
    JULIETTE
    The hospital has given me a full -time contract.
    LUC
    Wow, that's great! That calls for a drink!
    MICHEL (O.S.)
    My impeccable sense of timing...
    He comes round the corner, carrying four bottles of champagne.
    MICHEL
    Hello, everybody! Look who I brought with me - a whole tribe of starving Afghanis!
    Everybody looks past him to see Samir, Kaisha and their new baby arriving. More cheers.
    84.
    An apron tied round her waist, Juliette puts the last fritter on
    INT. KITCHEN - DAY
    the serving dish that Little Lili is ready to take out. O.S., laughter and banter from the garden.
    JULIETTE
    Careful you don't burn yourself. And don't drop it either.
    Little Lili walks out as if the platter were a royal crown. Juliette watches her affectionately. Wipes her hands. Léa arrives. The sisters glance at each other with love and great affection. Juliette opens her mouth to speak but bites her tongue.
    LÉA
    What?
    Juliette smiles and shakes her head. She gazes at Léa once more.
    JULIETTE
    Thank you.
    85.
    Juliette wanders round the museum, tightly framed by the camera.
    INT. FINE ARTS MUSEUM - DAY
    We see her face in close-up, with a blur of paintings behind her as she looks round.
    She stops at a painting of the Annunciation. The camera closes in on the face of the Angel Gabriel telling Mary the good news. Juliette seems to be in key with the painting.
    MICHEL (O.S.)
    Here, look at this one.
    We pull back to see that Michel has been walking along with Juliette all this time, his arm round her waist. He points to another painting. Juliette looks, then averts her eyes rapidly. Michel doesn't notice. The camera pulls back still further, until we lose them in the vastness of the museum. An ordinary couple. Just like any other.
    86.
    Juliette puts away her freshly laundered clothes in the cupboard.
    INT. JULIETTE'S BEDR OOM - DAY
    The photo and sheet of paper are tucked be tween two sweaters. Juliette takes them out and kisses them.
    LUC (O.S.)
    (from downstairs)
    Juliette? It's 8:30 already! If you want me to give you a lift, it's right now!
    JULIETTE
    Coming!
    She is about to tuck the photo out of sight again, but thinks twice. She gazes at the cupboard, frowns, then turns round and gently puts the photo and sheet of paper down on the bed, in full view. At the door, Juliette glances round at the bed and heaves a sigh of relief, as if a huge weight has been lifted from her sh oulders.
    87.
    Léa has pushed back the furniture to clean.
    INT. LIVING ROOM - DAY
    LÉA
    (loudly)
    What was it this time, Marie-Paule? A cat? The wind? The holy spirit?
    KATRINA (O.S.)
    I never said that at all, Léa. What I said was that Papy Paul stumbled and the lamp fell off. You can't blame me for that!
    LÉA
    (to herself)
    Papy Paul! Sure. I believe you.
    (louder)
    When you've finished in the kitchen, come and give me a hand moving the table. I know I can't do it on my own.
    KATRINA (O.S.)
    Okay!
    Emelia skitters into the living room, gurgling happily. She has something in her hand that we can't make out.
    LÉA
    You've made a quick recovery, you little terror! If I'd known, I'd have taken you to crèche.
    EMELIA
    Mummy! Mummy!
    She holds out her hand.
    LÉA
    What have you got there?
    Léa reaches out and takes it. Freezes. It's a photo. Of a little boy, laughing. Léa immediately recognizes Pierre, Juliette's son. Emelia gurgles some more. Léa snaps out of her trance.
    LÉA
    Where did you get this?
    EMELIA
    Auntie! Auntie!
    LÉA
    Emelia, it's wrong to take other people's things. It's wrong! I forbid it! I forbid it!
    Emelia bursts into tears.
    88.
    Léa enters her sister's bedroom and sees the cupboard door is open.
    INT. JULIETTE'S BEDR OOM - DAY
    A sheet of paper lies on the bed. A child's handwriting and hearts drawn on the page draw her eye. Léa picks up the paper.
    O.S., Emelia is still crying and calling for her "Mummy! Mummy!" Léa holds the photo in one hand and the sheet of paper in the
    other. The camera scans the handwriting as she reads: A garden in the rain Is peaceful and sad too Mummy, I feel the same When I'm far from you Your smile lights up the sky And makes me so happy If one day you must die Make sure it's after me Your loving son, Pierre Léa stares at the page, deeply moved. She flips it over and her emotion gives way to surprise. The camera just gives us time to make out lines of figures and columns that look like the results of a number of tests. Léa is intrigued. She isn't sure what to do. Then, she leaves the room and goes to her study, where she scans the document.
    89.
    From the outside looking in, we see Juliette sitting in the café.
    INT. CAFÉ - DAY
    She looks out. Watches people passing by. She seems at peace with herself.
    90.
    Little Lili and Juliette play the piano and sing happily.
    INT. SPARE ROOM - NIGHT
    JULIETTE & LILI
    Sur la plus haute branche Le rossignol chantait Chante, rossignol, chante Toi, tu as le cœur gai (On the highest branch A nightingale sang Sing, nightingale, sing Your heart is full of joy) Juliette gets up.
    JULIETTE
    I have to go.
    LILI
    (keeps playing)
    No!
    Juliette goes out into the hallway.
    LILI (O.S.)
    Mummy! Can you come and play with me?
    Juliette joins Léa, who is tidying away clothes in Little Lili's dresser.
    JULIETTE
    Is something wrong?
    LÉA
    No, I'm fine.
    JULIETTE
    Are you sure?
    Léa stops what she's doing and gazes at her sister. O.S., Little Lili keeps playing.
    91.
    In a white coat, stethoscope round his neck, Samir sits reading the
    INT. DOCTOR'S OFFICE - DAY
    scanned document. Léa sits anxiously opposite him. Beat.
    Samir looks up and frowns.
    SAMIR
    Why did you tear the name off the top of the page?
    No answer.
    SAMIR
    It's Lili, isn't it?
    LÉA
    (taken aback)
    No, not at all.
    SAMIR
    Do you swear?
    LÉA
    I swear it isn't Little Lili, Samir. Honestly! You don't know the little... It's somebody who died. A long time ago.
    SAMIR
    So why all the mystery?
    LÉA
    I can't explain now. Please, no questions. This is just very important for me. Very, very important. Please...
    Samir glances over the document again. Léa observes him closely, then looks away. Sees a framed photo on the desk. It shows Samir when he was younger with a young woman and two children aged about four and six. They are all smiling.
    SAMIR
    I'll have to consult a colleague whose field this is. I don't want to mislead you. All I can say for the moment is that it doesn't look very good. Not good at all. I'll call you as soon as I have more.
    Léa smiles gratefully and gets up to go. Samir comes round to get the door for her. Suddenly, Léa gives him a big hug. She glances at the p hoto on the desk again. Samir seems surprised by this show of affection. Then, he notices what she's looking at.
    SAMIR
    (puts his hand over his heart)
    They're still here, you know. In the end, war is pretty weak. It can't destroy everything.
    92.
    Juliette waits outside an apartment building.
    EXT. STREET - DAY
    Léa runs to meet her. They kiss on the cheeks.
    LÉA
    Sorry...
    JULIETTE
    The woman from the agency gave me the keys. She'll meet us there.
    93.
    Juliette and Léa look round a charming old a partment.
    INT. EMPTY APARTMENT - DAY
    From separate rooms, they talk without being able to see each other.
    JULIETTE
    Well?
    LÉA
    What?
    JULIETTE
    What do you think?
    LÉA
    (distractedly)
    It's not bad.
    JULIETTE
    You don't sound convinced.
    LÉA
    No, it is. It gets plenty of light.
    Juliette joins Léa in the next room. Beat.
    LÉA
    I liked having you at home with us.
    JULIETTE
    You've been acting strange for the last couple of days. What's wrong?
    They look straight at each other. Léa is about to say something, when the front door opens.
    ESTATE AGENT (O.S.)
    Madame Fontaine?
    JULIETTE
    Yes!
    94.
    Léa sits at her desk facing Bamakalé, elegantly dressed as always.
    INT. LÉA'S OFFICE, FACULTY BLDG - DAY
    Léa seems weary and bored by his story.
    BAMAKALÉ
    You have to understand, I feel like I have been passed from pillar to post for the last few months. I have been the victim of a terrible mistake. I can't sleep. I don't know where to turn...
    The phone rings. Léa picks up and motions to Bamakalé to give her a minute.
    LÉA
    Yes, Charly? ... Right, put him through. Thanks.
    (beat)
    Samir? ... No, it's fine. Go ahead.
    Léa listens, brow furrowed. Gradually, her expression changes as if she has made an astonishing realization. When Samir has finished, she simply thanks him and hangs up. She seems to have completely forgotten ab out Bamakalé. Eventually, he breaks the silence.
    BAMAKALÉ
    As I was saying, I have been treated very unfairly. This isn't the first time, the people of Africa have suffered an injustice. You are well aware...
    Léa looks up, as if only just noticing his pres ence.
    BAMAKALÉ
    ... that my people have been oppressed for centuries -
    LÉA
    Mr. Bamakalé, you really are beginning to piss me off with your complaints about your marks! You know that? You're pissing me off!
    FADE TO BLACK: Juliette's voice fades in while the screen is still black.
    JULIETTE (O.S.)
    I knew as soon as the first symptoms appeared. I hardly even read the results of the tests. Pierrot grabbed the letter and started writing a poem on it. When he gave it back, he was beaming with pride. My little boy.. .
    (beat)
    I saw him looking at me, so happy, so beautiful. He was my Pierrot. Then, I pictured the little corpse he was going to become.
    95.
    FADE UP.
    INT. LIVING ROOM - DAY
    Juliette stands by the window, looking out at the garden. A few paces behind her, Léa gazes at her sister. (As the scene develops, Léa will get closer to Juliette until she is pressed up against her sister.
    We sense they have cried a lot already. They are beyond tears. Their eyes are puffy and red-rimmed.
    They are reaching the conclusion of a long, painful discussion.)
    JULIETTE
    I could picture him at every stage of the disease. I knew exactly how it would develop. The worst thing was that I knew he wouldn't just fall asleep and never wake up, like in a kiddies' story. Soon, he wouldn't be
    able to move. He would suffer and gradually the life would be squeezed out of him. And there was no cure. Nothing to relieve his suffering. (beat) I went away with him. People said I abducted him. I suppose I did. I ran away with him. I fled with him and I fed him and I showed him all the places I loved best... Saint- Hippolyte, Beaulian, the Palioure coast... I had to increase the dose of painkillers almost every day. He was so brave. He used to say to me, "I'm your little husband..." (beat) One evening, we had a little party, just the two of us. It was in the Green House. We sang, we laughed and I read him all his favourite stories. Then, I put him to bed. I told him I loved him, that he was running a fever and I had to give him a jab. He gave me a hug and held me as tight as his little arms could. He recited his poem and I held him in my arms until morning. (beat) Afterwards, nothing seemed important anymore.
    LÉA
    Why didn't you say...
    JULIETTE
    I felt so alone. So alone. Anyway, there was nothing to say. Trying to explain it would be trying to excuse it. Death has no excuses. One way or another, I was guilty. I had brought a child into the world only to sentence him to death.
    (beat)
    You know, the most horrible prison... The worst prison is the death of you r child. There is never any release from that prison.
    Léa holds Juliette in her arms. Juliette clings to her sister. Léa gives her a kiss. Silence.
    LÉA
    Look...
    Outside, in the garden, the sun comes out, even though it's still raining.
    LÉA
    Isn't it beautiful?
    O.S., the front door opens.
    MICHEL (O.S.)
    It's Michel! Is anyone home?
    The sisters say nothing.
    MICHEL (O.S.)
    Léa? Juliette?
    Juliette turns away from the garden, glances at Léa, smiles.
    MICHEL (O.S.)
    Juliette?
    Beat.
    JULIETTE
    I'm here!

Summary: When Juliette Fontaine, formerly a doctor, is released from prison, her younger sister Léa invites her to stay with her family – including her husband, his mute father, and their two adopted Vietnamese daughters – in their home in the university town of Nancy in Lorraine. Why Juliette was in prison is revealed slowly throughout the film: first, that she was in prison for 15 years, then that her crime was murder, then that the victim was her 6-year-old son Pierre, and finally the reason why she killed him. Léa, a college professor of literature, is considerably younger than Juliette. Because of the nature of Juliette's crime, their parents denied Juliette's existence and refused to allow Léa to visit her. In addition, Juliette had refused to speak throughout her trial. As a result, Léa knows nothing about the circumstances surrounding the crime and, when pressed for details, Juliette refuses to discuss what happened until the end of the film. While struggling to find employment, Juliette enjoys platonic companionship with two men, a probation officer who understands how prison can damage the human spirit, and Michel, one of Léa's colleagues, who is sympathetic to her ordeal of having been imprisoned. Gradually, Juliette begins to fit in with Léa and her family, makes friends, and finds a permanent job as a secretary at a hospital.  She also develops a close relationship with her young nieces, much to the distress of their father, who is concerned about their safety while in their aunt's presence.  Slowly, after seeing how she interacts with the family, he begins to accept her. Juliette agrees to accompany Léa on a visit to their mother, who is confined to a nursing home with Alzheimer's disease. For a brief moment the woman recognizes and embraces her, remembering her as a little girl rather than the estranged daughter who murdered her grandson. Léa accidentally discovers a clue to why Juliette killed Pierre. Juliette diagnosed her son as suffering from a fatal and painful disease.  Léa confronts Juliette with what she learned, and Juliette explains that, when Pierre's condition progressed so that he could barely move, Juliette killed him with an injection, knowing that otherwise he would suffer unbearable pain.  At the trial she spoke no word of defense or explanation, feeling that she deserved punishment for bringing her son into the world, condemned to die. After a cathartic, emotional scene between the two sisters, Léa looks at a window and comments on how beautiful the rain is. Juliette agrees, and the film ends with Juliette saying, "I am here."