katalog
katalog
katalog
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
ОмеР ФАСТ<br />
OMER fAst<br />
160<br />
DE GROTE BOODSCHAP: EXTRACT FROM SCENE 2<br />
INT. MECHELEN APARTMENT HOUSE.<br />
MRS. VAN GHESTEL’S LIVING ROOM. NIGHT.<br />
MRS. VAN GHESTEL, over eighty years old, lights her<br />
eightieth cigarette of the day.<br />
T. J., a young woman ofWest African origin, turns off the<br />
sound on the TV. T. J. is MRS. VAN. GHESTEL’s caretaker.<br />
The two women watch the TV images in complete<br />
silence.<br />
MRS. VAN GHESTEL<br />
Just before the end of the war, a<br />
man suddenly knocked on our door.<br />
I must have been a<br />
twelve-year-old girl.<br />
T. J.<br />
Mrs. van Ghestel, I already know<br />
these war stories of yours…<br />
MRS. VAN GHESTEL<br />
And this man said he was from<br />
Antwerp. And that he was a<br />
diamond dealer.<br />
MRS. VAN GHESTEL inhales deeplyfrom her cigarette.<br />
T. J. ignores her, preferring to watch the TV.<br />
MRS. VAN GHESTEL<br />
The man asked for shelter. My<br />
father did not let him in. But<br />
the man held out his hand and it<br />
was full of sparkling diamonds!<br />
For me, as a child, this was a<br />
magical moment.<br />
T. J. changes the channel on the TV.<br />
CAMERA slowly zooms in on MRS. VAN GHESTEL.<br />
MRS. VAN GHESTEL<br />
Later that night, there was loud<br />
racket and many noises. Dogs were<br />
barking. I woke up. I saw a light<br />
in the living room and I walked<br />
downstairs. My father was there.<br />
He was sitting alone in front of<br />
A jar of pills and a bottle of<br />
Cognac.<br />
MRS. VAN GHESTEL becomes more and more animated<br />
as she recalls the story.<br />
MRS. VAN GHESTEL<br />
He took a pill. He filled up a<br />
glass of Cognac. And he drank it<br />
all down in one shot. He took<br />
another pill. He filled up<br />
another glass of Cognac. And he<br />
drank it all down again until it<br />
was empty. Then a third pill and<br />
another glass of Cognac… All<br />
the while, the noises outside<br />
grew louder and louder… He was<br />
trembling! Trembling! But there<br />
was no sign of the stranger in<br />
the house.<br />
T. J. looks at her watch, sighs, gets up and walks off<br />
camera. MRS. VAN GHESTEL drags on her cigarette<br />
and closes her eyes.<br />
MRS. VAN GHESTEL<br />
My mother also woke up. She<br />
walked in, still wearing her<br />
nightgown. Her face was red from<br />
crying. She saw my father sitting<br />
there and she said, “Frans! Just<br />
what is it that you’re doing?”<br />
But my father kept on drinking.<br />
And he kept on swallowing pills…<br />
Over and over. Pill after pill.<br />
Glass after glass.<br />
T. J.<br />
(off -camera)<br />
Mrs. van Ghestel, it’s really<br />
getting very late. Why is there<br />
no food in your fridge?<br />
MRS. VAN GHESTEL<br />
My mother kept crying, “Frans!<br />
How can you do this to us! Have<br />
You gone out ofyour mind?” But<br />
my father said: “Let me be!” She<br />
grabbed him by his vest! But he<br />
threw her to the floor and<br />
yelled: “Can’t you understand<br />
what I’m doing? I’m swallowing<br />
the diamonds! I’m drinking the<br />
diamonds!My stomach is the only<br />
safe place in this whole damn<br />
house! Nobody can take the<br />
diamonds from there! He was so<br />
drunk that he could barely stay<br />
on his feet.<br />
Pages 154–155 and 158–159:<br />
stills from De Grote Boodschap (The Big Message), 2007<br />
single channel, 27 мinutes<br />
Production still: Erik de cnodder<br />
courtesy Omer fast<br />
Omer fast was born 1972 in israel. he is now based in germany. fast works with film, video and television footage to examine<br />
how individuals and histories interact with each other in narrative. he mixes sound and image into stories that often veer between<br />
the personal and the media’s account of current events and history. he uses his films to explore the various possibilities offered<br />
by the cinematic medium: possibilities of expressing emotions, of confronting personal stories with public concerns, of concentrating<br />
on individuals or integrating their environments in a broader historical context.<br />
T. J. returns and sits next to MRS. VAN GHESTEL. She takes<br />
her hand, gently trying to get her attention.<br />
T. J.<br />
Mrs. van Ghestel. It’s really<br />
late. I have go to the<br />
supermarketbefore it closes, OK?<br />
I’ll be back in a half hour. A<br />
half hour, OK?<br />
MRS. VAN GHESTELL looks at T. J. but doesn’t respond.<br />
T. J. walks towards the door but pauses before leaving.<br />
MRS. VAN GHESTEL<br />
And the whole week afterwards…<br />
Day after day… My father and<br />
mother would go into the toilet<br />
together. And I stood outside the<br />
door and listened. And I could<br />
hear my mother crying: “Frans!<br />
Keep going! Don’t stop, Frans! It<br />
is so beautiful!”<br />
MRS. VAN GHESTEL leans forward in her couch. She is<br />
ecstatic, almost screaming.<br />
T. J. looks on with no expression. She’s heard this story<br />
a thousand times but cannot leave until it’s over.<br />
MRS. VAN GHESTEL<br />
“Don’t stop! More! More, Frans!<br />
It is just so beautiful! Frans…<br />
And look how it sparkles! I wish<br />
It would stay like this forever!”<br />
A pause. T. J. opens the door and leaves.<br />
161