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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

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