Julieta Page #3

7. MADRID. 19, FERNANDO VI. EXT. DAY.

2016. SPRING.

Julieta gets out of a taxi in front of 19, Fernando VI.

8. MADRID, 19, FERNANDO VI. SUPERINTENDENT’S OFFICE IN

BUILDING. INT. DAY.

2016. SPRING.

She comes into the entrance hall. The superintendent

comes out. Inocencio, a simple, amiable man, pleasant

looking, greying hair.

From the way they greet each other they seem like old

acquaintances. They haven't seen each other for some

time, but Julieta talks to him as if they had just seen

each other the day before. The man doesn’t recognize

her at first.

JULIETA:

Hello, Inocencio!

INOCENCIO:

Miss Julieta! It’s been ages!

Inocencio is surprised to see her there. Julieta acts

as if she doesn’t notice, she’s full of determination.

JULIETA:

Yes, indeed. By chance, have any

letters come for me?

INOCENCIO:

(Confused) In all these years?

Noo.

JULIETA:

I’ve just come back to Madrid, and

I’d like to rent my old apartment.

Is it free?

Julieta acts as if this inquiry were the most natural

thing in the world. (By this stage, the spectator will

think she’s eccentric, verging on crazy)

INOCENCIO:

(Puzzled) No… I thought you’d left

Spain.

JULIETA:

Yes, but I’ve come back. And I

miss this street. Is there another

apartment free?

INOCENCIO:

Well, the second left is empty.

JULIETA:

That’s wonderful! Can I see it?

Inocencio, a good, simple man of 50, is astonished. He

remembers that Julieta had been very ill years ago and

had caused a few scenes before leaving the building.

He’s afraid she hasn’t recovered in all these years.

INOCENCIO:

It’s practically unfurnished, and

it hasn’t been painted.

JULIETA:

That doesn’t matter.

Cut.

9. MADRID. FERNANDO VI, 19, 2ND FLOOR. HOUSE 3. INT.

DAY.

2016. SPRING.

Julieta and Inocencio appear at the far end of the

hallway that leads into the apartment’s large sitting

room. The color of the walls is different from that of

her old apartment in the same building, but the lay-out

and aspect to the street is identical. They pause in

the doorway. Julieta looks around the room. The

superintendent looks at her, uncomfortable.

The wooden floor is dirty. And the walls, painted a

greyish green, still bear the marks of the previous

tenant’s pictures and furniture. There are three

windows, without curtains.

INOCENCIO:

It’s very dirty, I warned you.

JULIETA:

I’ll clean it. I’ll take it,

Inocencio.

A ray of sun comes through each of the three windows

that look out on the street and light up the largest

room. On one side there is a fireplace that divides the

wall in two. On both sides of the fireplace there are

empty shelves. Near the shelves an abandoned stool and

a skay armchair.

INOCENCIO:

But it’s not ready for anyone to

move in, Miss Julieta. If you give

me your number, I’ll call you.

JULIETA:

That isn’t necessary, really. As

long as the bathroom and kitchen

work, I can see to the rest.

INOCENCIO:

(Disconcerted) The bathroom and

the kitchen are new.

Cut.

10. MADRID. 19, FERNANDO VI, 2ND FLOOR. HOUSE 3. INT. DAY.

ANOTHER DAY.

2016. SPRING.

Julieta is standing in the sitting room of the new

apartment, waiting for two men to set down the last of

the removal boxes, the same boxes we saw at the

beginning. She gives each man a tip. She hasn’t brought

any furniture from the other house. Just clothes and

books.

Cut. (Perhaps this sequence isn’t necessary)

11. MADRID. 19, FERNANDO VI, 2ND FLOOR. HOUSE 3. SAME

DAY. INT. NIGHT.

2016. SPRING.

Night has fallen. Julieta, alone, has opened some of

the boxes of books, among them the box we saw in Seq.

1. She takes out Lorenzo Gentile’s book, “Adi.s,

volc.n”, and the sculpture of the seated man which she

had packed in bubble wrap. She also takes out the

Christmas card-type blue envelope from the first

sequence.

Sitting on the skay armchair, using the stool as a

table, she opens the blue envelope we saw in the first

sequence. She empties its contents onto the stool. The

surface is covered with tiny pieces of a photo that had

been carefully torn up. With her hand she spreads out

the pieces of the photo, creating a difficult jigsaw

puzzle:
the past, lying on the stool.

Cut.

12. MADRID. 19, FERNANDO VI, 2ND FLOOR. HOUSE 3. EXT.

NIGHT.

2016. SPRING.

She comes to the window. We see her from outside, from

the point of view of someone on the sidewalk, watching

her in the darkness.

Julieta breathes in the night air, (the air from the

past to which the pieces of the torn photo belong), the

air from her former and current street. Seen from below

she is an enigmatic figure.

13. MADRID. 19, FERNANDO VI, 2ND FLOOR. HOUSE 3. INT.

NIGHT.

2016. SPRING.

A gust of spring air reaches the stool and scatters the

pieces of the photo across the floor.

Cut.

14. MADRID. 19, FERNANDO VI, 2ND FLOOR. HOUSE 3. SITTING

ROOM. INT. NIGHT. CONT.

2016. SPRING.

Julieta is sitting in the old skay armchair next to a

simple standard lamp. The photo which had been torn

into a thousand pieces and scattered is beside her,

intact again.

Julieta is holding a thick, hard-covered Italian

notebook. On the first page she writes the name ANT.A

in capital letters. From its position, in the middle of

the page, Ant.a is the title of everything she will

write afterwards.

The scant initial text is written as a list:

Two sons and one daughter.

She came down to Lake Como to shop, so she lives in a

town where there are few stores. Perhaps she lives in a

nearby, expensive Swiss town and she went to shop in

Italy which is much cheaper.

She doesn’t wear make-up. And she’s thin.

She thinks I’m still living in Madrid.

15. MADRID. THE STREET. EXT. DAY. CONT.

2016. SPRING.

A VERY TYPICAL IMAGE OF PRESENT DAY MADRID.

Coinciding with the words “living in Madrid” we see

Julieta walking slowly along a street full of people. A

sunny spring day. She looks at everyone, especially the

women. She smiles at one who has two children by the

hand.

16. MADRID. OPEN AIR BASKETBALL COURT. EXT. CONT.

2016. SPRING.

In the neighborhood where she lives.

She goes into an open air basketball court. She sits on

a bench and watches some children playing. She is

alone. She takes an apple from her purse and starts to

eat it slowly. Again, in the park we see her from the

point of view of someone watching her unseen.

17. MADRID. THE VICINITY OF JULIETA’S HOUSE 3. EXT.

NIGHTFALL.

2016. SPRING.

At dusk she returns to her new apartment, weary. She

has walked all day.

From a nearby corner someone sees her opening the door

of the building where she lives. He looks up at the

windows on the second floor until he sees the light go

on.

The man lurking there is none other than Lorenzo.

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