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1 LORELEI 1
2 INT. GABRIELA'S HOUSE GALATI, ROMANIA - DAY 2
The young Gabriela is a pretty child with braids, around
nine years old. Her parents, Mr. NEI, a magistrate, and
Mrs. NEI are middle-aged, middle-class types, very proper
and respectable in their appearance and behavior. They are
entertaining their new neighbors, Mr. and Mrs. NOVLEANU and
their daughter, Lucica, five years old. The young Lucica is
thin and pale. Lucica's mother is very striking in her
youthful appearance, very trim with blond hair and blue
eyes; her father, an attorney, is mild-mannered, very
attentive, and also has blue eyes. It is apparent that he
and his wife are lovingly disposed to one another.
MR. NEI
(nudging Gabriela toward
Lucica)
Gabriela, you're going to have a
new friend. Be nice to her.
Gabriela looks nervously at Lucica, then cranes her neck to
look back at her father, who is pushing her onward. The
adults are polite but anxious; Lucica steps in closer
toward Gabriela.
YOUNG LUCICA
(aloof)
So? Who are you?
YOUNG GABRIELA
(restrained)
Gabriela Nei.
Mr. Novleanu coaxes Lucica from behind.
MR. NOVLEANU
Now be polite and tell her your
name.
Lucica shakes her head no like a young colt whinnying
defiantly, her dense curls unfurling. Gabriela peers at
her. Lucica stares back at Gabriela with big dark eyes.
Gabriela looks back over her shoulder at her father.
MR. NOVLEANU (CONT'D)
(smiling broadly)
Her name is Lucica, but we call
her Cica. She's a little--wild,
you know.
Gabriela is displeased. Lucica is haughty. Her large
expressive eyes defy Gabriela, who evaluates Lucica from
head to foot, observing her scraped knees and drooping
socks.
MR. NEI
(graciously)
Come, Gabriela, show the little
girl your toys.
Gabriela dutifully takes Lucica by the hand, but Lucica's
hand slips out quickly. Gabriela does a double take of her
hand, as though bewildered at how quick her new friend is.
Lucica flashes her big dark eyes, startling Gabriela.
YOUNG LUCICA
So, be my horsie.
Gabriela's expression shifts from restraint to desperation,
then restraint again as she complies obediently. Before she
realizes, Lucica leaps on to her back, undaunted that she
nearly knocks Gabriela over by surprise.
YOUNG LUCICA (CONT'D)
So, do you have any dolls?
Lucica stares boldly as she clings piggyback to Gabriela,
who squints her eyes as though in pain.
3 INT. YOUNG GABRIELA'S BEDROOM -- MOMENTS LATER 3
The door swings open abruptly. Lucica has one arm encircled
about Gabriela's neck, and seizes the braids of her
companion with the other hand. Numerous dolls are neatly
arranged, to the delight of Lucica's widening eyes. Lucica
scrambles down and grabs Gabriela by the arm.
YOUNG GABRIELA
(pointing to the dolls,
and shushing Lucica
with her finger)
Shh. They are all in a deep
sleep. They have been bewitched.
For a moment Lucica looks at Gabriela with polite
indifference and then bolts. Abruptly she gathers all the
dolls together, trounces to the middle of the room and
drops to the floor.
YOUNG LUCICA
(seriously)
There's a war on, you know?
Lucica begins military maneuvers with the dolls to the
horror of Gabriela, who is startled when Lucica imitates
the SOUND of a trumpet.
4 INT. NEI KITCHEN -- MOMENTS LATER 4
Gabriela rushes to her mother who is preparing a tray of
hors d'oeuvre and has anticipated the crisis.
MRS. NEI
There, there, no use getting
upset.
She'll grow on you soon enough, I suspect.
YOUNG GABRIELA
She's doing horrible things to my
dolls!
Gabriela begins to cry.
MRS. NEI
(apologetically)
They've bought the house next
door.
5 INT. YOUNG GABRIELA'S BEDROOM -- MOMENTS LATER 5
Gabriela is horrified to see Lucica surrounded by dolls in
chaos.
YOUNG LUCICA
(nonplussed)
So, do you have a doctor?
Gabriela slowly shakes her head in shock. Lucica springs to
her feet and walks over to Gabriela, and casts a look over
her shoulder at the mayhem.
YOUNG LUCICA (CONT'D)
(resolved)
Well, they're ready for burial,
then.
6 EXT. NEI YARD NEXT DAY -- MORNING 6
Young Lucica hurries to the back door and slips inside
without knocking. Two DOGS wag their tails as she passes.
7 INT. NEI KITCHEN -- CONTINUOUS 7
Young Gabriela is prattling in the kitchen. There is food
cooking on the stove, vegetables strewn about on the table.
She is surprised to see Lucica enter quickly and place a
doll made up like a bride into Gabriela's arms.
YOUNG LUCICA (CONT'D)
(awkwardly)
So, don't cry anymore about the
war. It's over.
Gabriela is at a loss for words. Lucica runs out the same
way she came in, knocking over a milk can by the door, and
provoking the dogs outside to BARK.
DISSOLVE TO:
8 INT. YOUNG GABRIELA'S BEDROOM -- MONTHS LATER 8
Gabriela is reading from a book to a wide-eyed Lucica. Both
of them are sitting on the bed. Their appearance and
rapport suggests a passage of time, and a tender, evolving
friendship.
DISSOLVE TO:
10 INT. YOUNG GABRIELA'S BEDROOM -- MONTHS LATER 10
Gabriela is lying on her stomach across her bed, reading
from another book to Lucica, who is lying on her back on
the floor, with her feet on the edge of the bed. The girls
are a little older in their appearance. Lucica is studying
her fingers as she holds her hands at arm's length, and
Gabriela tickles her foot. They both laugh and reveal a
growing camaraderie.
DISSOLVE TO:
11 INT. YOUNG GABRIELA'S BEDROOM -- MONTHS LATER 11
Gabriela is alone in her room reading a book. Her window is
open, and suddenly she is distracted from her reading by
the sound of someone at her window outside. She lays the
book down and moves toward the window, but before she has a
chance to look out, a small hand TOSSES a storybook through
the window.
12 INT. YOUNG GABRIELA'S BEDROOM -- LATER 12
Gabriela is sitting in a chair near the open window. She is
reading out loud from the book that came through the
window. A small hand reaches to the sill from the outside,
and deposits a stone, and moments later, a linden flower.
Gabriela smiles as she reads.
13 EXT. NEI YARD NEXT DAY -- AFTERNOON 13
Gabriela is playing with a doll in the garden. Out of
nowhere a mud ball splashes nearby. Gabriela pauses, sighs,
then smiles and tosses the doll in the air, yelling.
YOUNG GABRIELA
Medic! Medic!
Lucica appears with a small shovel, and begins digging a
hole. Gabriela protests for a moment, then relents as she
looks at the quixotic Lucica with thick braids, smudged
cheeks, scuffed knees and slouched socks.
14 INT. YOUNG GABRIELA'S BEDROOM -- EVENING 14
Gabriela is sitting on the floor by the window. It is
obvious she is waiting for something. Moments later
Lucica's hand reaches the sill, again from the outside, and
leaves a butterfly. Gabriela catches Lucica's hand before
she withdraws it, and presses CANDY into her palm.
DISSOLVE TO:
15 INT. YOUNG GABRIELA'S BEDROOM -- 3 YEARS LATER 15
Gabriela is writing at her desk. On the window sill are a
small piece of candy and a piece of pastry. Within moments,
Lucica's hand reaches in from the outside, and sets down a
pine cone and a butterfly. Seconds later she retrieves the
candy. Gabriela laughs, sets down her pen, and goes over to
the window, staring at the butterfly, but not touching it.
She softly blows on it, and it flies away. Then she takes
the pine cone and sets it on a shelf with various objects
from Lucica—rocks, sticks, bottle caps.
16 INT. YOUNG GABRIELA'S BEDROOM -- NIGHT 16
Gabriela is reading, and suddenly the door opens and Lucica
rushes in with both hands cupped together.
YOUNG GABRIELA
(curious)
What is it? What have you got
there?
YOUNG LUCICA
Shh!
Lucica looks around then crawls under the bed. Gabriela is
slightly astonished, then shakes her head and follows
behind.
YOUNG LUCICA (CONT'D)
Shh! Look!
Lucica shakes her hands, still cupped together, and then
opens them slowly. Gabriela peers closer and sees fireflies
lighting up in Lucica's palms. Close up of fireflies'
light.
17 EXT. DARK SKY -- NIGHT 17
Stars twinkling. Sound of CRICKETS chirping.
DISSOLVE TO:
18 INT. CARRIAGE -- 12 YEARS LATER 18
Lucica is leaning over Gabriela, and back, looking out the
windows with great excitement.
19 EXT. VINEYARD -- LATER 19
There is a large wooden gate that opens to the Novleanus'
vineyard in Tutova, outside of Galati. The carriage stops,
the old man dismounts, and opens the gates. There is a
summer house with a wrap-around veranda, and a water well
off to the right. There are vineyards in the background to
the left, and a fruit orchard in the back to the right.
Lucica bolts from the carriage before it has come to a stop
inside the gates, and runs off to greet one of two mangy
DOGS, GAVRILA I and GAVRILA II.
20 EXT. ORCHARD -- DAY 20
Gabriela and Lucica are sitting on the grass. Books are
strewn about, fresh fruit is in a pile next to Lucica's
hat. Gabriela is sitting poised, holding a pencil as she
scours over a page, flinching every time an insect flies
by, holding her hat protectively. Lucica is sprawled on her
back, fingering the grass with one hand, and feeling for
cherries with the other.
Gabriela is nodding, flipping pages, and unaware that
Lucica is becoming distracted by a butterfly that she
begins chasing.
GABRIELA
(unaware, still studying
the page)
...Luli...Luli?
(she realizes Lucica is
gone)
21 EXT. BACK OF ORCHARD -- CONTINUOUS 21
The sun is streaming through various fruit trees. The wind
moves the branches.
22 EXT. VERANDA -- LATER 22
Gabriela is reading on the porch when Lucica suddenly
appears up from the orchard side of the house. The mangy
dog Gavrila I, is lumbering beside her.
GABRIELA
(reproachingly)
And where are you coming from
after all this time?
LUCICA
I went for a walk.
FADE OUT:
SOUND of crickets chirping. Random BURST of fireflies.
23 EXT. VINEYARD -- MORNING 23
24 Lucica is walking in the vineyard, unaware that Gabriela is24
following at a distance. Lucica stops and caresses clusters
of grapes, gently, sensuously, looking about as though
trying to find the perfect spot. She then removes a folded
sheet of paper and a pen from her dress pocket, and sits
down to write. Gabriela peers at her from behind some
vines, and suddenly Lucica springs to her feet and heads
off towards the orchard.
25 EXT. BACK OF ORCHARD -- CONTINUOUS 25
Lucica retrieves folded paper from her dress pocket and
stretches out on her stomach beneath a cherry tree. She
props her chin in one hand, then begins writing with the
other. Gabriela is still spying. Lucica draws lines on the
papers like a musical staff, and begins HUMMING a melody,
jotting down notes, erasing, rewriting, and then
reflecting.
The wind moves the branches. Lucica suddenly tears the
paper she is writing, casts it away, then springs to her
feet and leaves the orchard. Gabriela conceals herself as
she watches Lucica leave. After she is gone, Gabriela walks
over and collects the torn pieces of paper. Then she goes
to the spot where Lucica had been lying, and studies the
impression in the grass from Lucica's body with great
concentration. She lies down carefully in the same fashion,
and begins to piece together the bits of paper and reads
the lines.
GABRIELA
"Upon the overturned harp of your
grass, Summer, my body and soul
are the beginning of a great
song, and the hand's tremor that
seeks it."
Suddenly the wind blows the torn pieces of the paper from
Gabriela's fingers.
GABRIELA
(to herself)
Luli!
26 EXT. VERANDA -- LATER 26
Lucica is sitting on the steps, playing fetch with Gavrila
I. Gabriela approaches from the vineyard side.
LUCICA
(curious)
Gabico--where have you been?
GABRIELA
(coy)
For a walk.
Gabriela smiles as she sits down next to Lucica and
observes her in a subtle fashion. She nudges her friend and
waits for a reaction.
GABRIELA (CONT'D)
What are you thinking about Luli
boy?
LUCICA
(acknowledging, but not
making eye contact)
...you know, just like that. The
same. I'm far away.
GABRIELA
(gently)
Do you remember when you were a
little girl and you used to wait
for the storks on the roof of the
house?
Lucica glances at Gabriela, smiling.
GABRIELA (CONT'D)
Maybe you're still waiting for
them, in there, inside yourself.
LUCICA
Don't be silly. I'm not a child
anymore.
GABRIELA
No, you're not, are you.
Gabriela gives her an affectionate hug, and then goes
inside the house.
27 EXT. VERANDA -- NIGHT 27
Lucica and Gabriela are dragging their mattresses outside
on the porch so they can spend their last night outside.
The nanny is sleeping at the other end on a small cot. The
old man is down on the grass, asleep on a large animal fur.
Gavrila I, is making his rounds, Gavrila, II is sound
asleep next to the old man. The wind rustles the trees, and
the rising moon is casting a bold light on the veranda. A
flock of NIGHT BIRDS takes wing, and Lucica and Gabriela
flop down on their respective mattresses.
28 LATER 28
Gabriela is asleep, then opens her eyes to the moonlight.
She looks sleepily over to Lucica's bed, and sees it is
empty. She settles back in thought, puts her arms behind
her head, and the moon shines her light on her neck as it
climbs higher.
29 EXT. ORCHARD -- LATER 29
Lucica is sitting on a tree stump in her nightgown, her
knees drawn up to her chest. We hear the sound of crickets
and see the spray of fireflies as Lucica gazes up at the
sky. Gabriela approaches.
GABRIELA
(urgently)
I followed you. Forgive me, Luli,
but the other day in the orchard-
I had a feeling, so I followed
you. And I found your paper.
LUCICA
(indifferently)
I tore it up.
GABRIELA
I read it just the same, well, I
read the words. It is a sad poem
for someone so young.
Lucica shrugs her shoulders in resignation. She sighs.
GABRIELA (CONT'D)
I heard you humming…it's a
beautiful melody. When did you
start composing?
LUCICA
(with angst)
Gabico, you say that with such
judgment. It's nothing.
GABRIELA
(surprised)
Nothing? A poet and a composer?
Hardly nothing.
Lucica huddles closer to herself and rests her cheek on her
knees, looking away from Gabriela. Gabriela extends her
hands towards Lucica, hesitates, then begins to withdraw
them when suddenly Lucica seizes them. She pats them
gently. Her face is sad.
GABRIELA (CONT'D)
(with empathy)
Oh, what is it, Luli? Is it so
awful?
Lucica releases Gabriela's hands, and begins to gesture
wildly all around her, and at the sky.
LUCICA
(Conflicted)
Look here. Do you see this? The
moon, the sky, life, nature
everywhere, everything---all of
this--
She brings her closing fist to her forehead.
LUCICA (CONT'D)
--fights with this. What can I
do?
GABRIELA
Still the wild child, full of
life. So much energy, so
possessed, and yet so free. You
have always had this fever--so
intimate with life, bugs, rocks,
stars, oh, Lucica! Have you no
idea how I've envied you, your
spirit, your passion! I can still
see you, how your eyes got so big
with wonder when I read you
stories, that I thought they
would swallow me. I actually felt
more alive just being near you.
Imagine!
LUCICA
(awkward)
Gabico!
Gabriela's face is lit with moonlight.
LUCICA (CONT'D)
(softly)
...Gabico, let's take a walk.
GABRIELA
Like this? In pajamas and
slippers at night? Are you mad?
Lucica stands and starts to walk, motioning with her head,
and holding out her hand. Gabriela takes it.
30 EXT. ORCHARD -- CONTINUOUS 30
Lucica and Gabriela are walking slowly, close together.
LUCICA
You're right, you know, I've gone
mad, Gabico. I would want to tell
you everything, and yet, I see I
have nothing to tell. It's not so
easy for me to talk about myself.
After you left for university, I
had no one to turn to but myself.
GABRIELA
Ah. And you found the poet there.
I remember your letters.
LUCICA
I should never have sent them
GABRIELA
How can you say such a thing?
They were beautiful. You have so
much talent that I (beat)I've
saved everyone of them.
LUCICA
(melancholic)
You should destroy them. They
weren't important anyway.
GABRIELA
How can you be so blind, Luli? If
I hadn't saved your beautiful
writings, why, no one would ever
know what a beautiful soul you
have. You shouldn't deny people
such talent.
LUCICA
I'm not denying them anything,
because I have nothing to offer
them.
Lucica pauses to stare up at the sky again.
LUCICA
(intimately)
Do you know the sensation?
That it's too tight to breathe,
as though there were no room
inside of you? You want more,
much more and you want it right
away. You know in your heart that
the firefly is in the blood
pumping through you. So I write
two or three words--a phrase,
perhaps, but then I tear it up.
Then I am left with nothing. So
you see, I am not denying people
(beat) I am simply sparing them.
GABRIELA
Even the music? What about the
music?
LUCICA
(beaten)
It's all nothing. Nothing worth
saving.
GABRIELA
How so? I don't understand.
LUCICA
Ah…
GABRIELA
You really mean to say you have
nothing of what you've written?
Ever? You didn't save one line?
LUCICA
(agitated)
Please, Gabico! I haven't written
anything. I can't seem to get
past feeling it, as if I'm
intimidated by my own
sensitivity. It's really the
strangest thing. It's as though I
write to be a part of what I'm
feeling, and sometimes, (beat)
sometimes it's as if I'm not even
the one who's feeling it.
Gabriela smiles and caresses Lucica's face.
GABRIELA
That explains the way you fret
like a wounded lover, my poor,
passionate friend.
LUCICA
(forlorn)
Yes, Gabico, console me. You are
the only one who ever knew what
to do with me.
An idea comes over Gabriela. She puts her hand on Lucica's
head.
GABRIELA
I will do better than that. I
will baptize you the way John
baptized Jesus in the Jordan. I
will give you a proper name, a
writer's name,
an identity to keep you safe from
your (beat) intensity.
LUCICA
Don't tease me, Gabico.
Gabriela looks hard at Lucica. Lucica is confused. Gabriela
thinks harder still.
GABRIELA
You need a new name, don't you
see?
Lucica lowers her eyes.
GABRIELA (CONT'D)
"Lorelei..."
LUCICA
You're joking.
GABRIELA
"Lorelei"...your pseudonym.
(Thinking)
Do you know Heine's ballad?
LUCICA
Something about a fairy maiden
that sings on a cliff off the
Rhine?
GABRIELA
The very one.
LUCICA
--and she provoked mortal
accidents by seducing the sailors
with her song?
They laugh in spite of themselves.
GABRIELA
Isn't it wonderful? I feel such a
release, like coming out of a
church when we were little—do you
remember? Don't you see? You
musn't fear your passion.
And for God's sake, you must stop
destroying what you create. I'll
see to that.
31 EXT. VERANDA -- CONTINUOUS 31
Lucica and Gabriela are drinking coffee from a thermos, and
eating bread and leftover food. Dadaie stirs and they
giggle with their mouths full.
CUT TO:
32 SUPER: "UPON THE OVERTURNED HARP OF YOUR GRASS, SUMMER…"32
EXT. TRAIN STATION, TUTOVA, ROMANIA -- DAY
A train comes to a lazy stop in a small station. A sullen
CATUL (TANI) BOGDAN leans out the open window of a first
class compartment as he lights a new cigarette from the
present cigarette. He is 37 years old, has a handsome
youthful face, but grey hair combed straight back. A vast
rustic carriage enters at the back of the depot. An OLD MAN
with an ostentatious mustache snaps the reins. He wears
peasant attire. Two raggedy HORSES shake their heads,
jingling the bells around their necks. Two burly DOGS
lumber alongside, burrs sticking to their fur, and their
long rosy tongues dangle as they pant, except when they
snap occasionally at a bothersome fly. The train comes to a
full stop, and steam shoots out along the bottom.
Tani studies the scene and retrieves a notebook from his
pocket. He begins to write.
TANI(V.O.)
...this is how they pass, like
the verses of Francis Jammes,
lower-case letters in a small
canter, carrying the names of
girls from another time on the
summer fragrance of linden
flowers, sweet clover, lavender
and mint leaves up to the
sweetest sky. (Train WHISTLE).
Sparrows are chirping with the blend of a girl's voice.
LUCICA is now an uncommonly attractive girl of 18-20 years
old, and she laughs with ease. She has thick, long, dark
curly hair. She is walking with GABRIELA, similar in height
and shape to Lucica but more mature and reserved. They are
wearing flaxen dresses and woven straw hats that float in
the sun like lotus flowers on the water.
They are carefree and animated in their movements, smiling
and talking as they head toward the ticket counter.
Gabriela is cradling a bouquet of multi-colored wild
flowers in her arms. Lucica is fastening the hat ribbon
under her chin, as the wind makes the brim luff. Tani's
attention is fastened upon them.
Suddenly an avalanche of packages, parcels, and bundles
tumble from the coach, each one tied securely. As they hit
the ground they scatter a crowd of PIGEONS. Tani writes in
his notebook as the scene unfolds. On top of the coach is
more luggage and a litter of baby CHICKS crowded into a
small cage. The old man dismounts, thrusts the whip handle
into the top of his boot, and lowers down a mighty leather
suitcase cinched with rope. Gabriela approaches and helps
gather the fallen items. Lucica is hurrying along with the
tickets. Baby BIRDS peep wildly from the eaves of the
station roof. The two dogs crawl in the shade under the
carriage. DADAIE emerges from the coach. She is a tallish
woman from the mountains of Bistrita, with handsome
features still evident in her older age. She is Lucica's
nanny, and despite her sharp gaze Dadaie is devoted to
Lucica. She begins taking up some of the packages and
carrying them toward the train. The old man lugs the
suitcase, and Lucica is hurrying along with the tickets,
mindful of her hat. She carries a basket of dark CHERRIES.
As they all rush toward the train, Lucica suddenly
stumbles, and the cherries SPILL out in front of the train.
The horses shake their heads, jingling the BELLS around
their neck. Tani watches intensely, pausing in his writing.
LUCICA
Oh, my goodness!
Gabriela urges her up and onward to the train steps.
GABRIELA
Come along, Luli, come on, the
train is leaving.
Lucica hesitates, leaning first towards the cherries, then
the train, like a balance. The shrill train WHISTLE
startles her, as Gabriela rushes her up the train steps.
Two tears stream down Lucica's face as she boards the
train. One of the raggedy horses turns his head toward the
train, jingling the bells, while Tani lights another
CIGARETTE and writes. His eyes flash sudden emotion.
TANI
(bewitched)
Luli…
33 INT. TRAIN – CORRIDOR 33
Lucica and Gabriela head toward the compartment among
passengers.
Gabriela is navigating, while Lucica looks back toward the
door. Suddenly they nearly run into Tani, with Gabriela
noticing him first. He smiles charmingly, but is taken back
when Lucica meets his eyes.
He nods politely but does not move as Gabriela urges Lucica
on.
INT. TRAIN FIRST CLASS COMPARTMENT
Tani takes his seat, pulls out his notebook and writes
something.
34 EXT. TRAIN STATION - TUTOVA -- LATER THAT AFTERNOON 34
Lucica jumps from the steps of the train before it has
stopped moving. An old man with a carriage is waiting. She
runs over to the horse, and throws her arms around its
neck, nuzzling her face in his fur.
LUCICA
Oh, you poor things! Little horse
men with rabbit ears--Gabico-
look at them!
Gabriela shakes her head in amusement. Dadaie is
chaperoning the girls. She is tending to the luggage, while
Lucica is searching through the bags to the obvious dismay
of Dadaie.
LUCICA (CONT'D)
Please, dadaie! It's here--I put
it there, I'll find it myself.
GABRIELA
(reprimanding)
Luli!
Lucica quickly locates some pieces of sugar and feeds them
to the horses.
35 INT. TRAIN SECOND CLASS COMPARTMENT – LATER 35
Lucica opens the window and feels the wind on her face. She
leans out of the window and waves to the little horse-men.
36 SUPER: MY BODY AND SOUL ARE THE BEGINNING OF A GREAT SONG…36
INT. TRAIN FIRST-CLASS COMPARTMENT
Tani lights a cigarette and leans out the window, resting
his elbows on the ledge.
He removes his notebook and flips through the pages. Two
women pass by the compartment in the corridor.
FIRST WOMAN
Oh, my God! It's Catul Bogdan.
SECOND WOMAN
I met him once. He's very
charming. He has wonderful hands-
Byzantine hands.
The train slows down at the next stop.
37 INT. SECOND-CLASS COMPARTMENT -- MOMENTS LATER 37
Lucica and Gabriela sit facing one another and smile.
Gabriela removes a folded paper from her bag, opens it and
shows Lucica torn bits of paper.
GABRIELA
I'm very tired and need to take a
nap. But you, dear Lorelei, have
work to do. By the time we get to
Galati, I want to see what you
can do to fix this.
Lucica is surprised and begins shaking her head,
stubbornly. Gabriela leans forward, grabs Lucica's hand,
and puts the paper into it resolutely.
GABRIELA (CONT'D)
Behave yourself, Lorelei—
LUCICA
Stop calling me that.
GABRIELA
I will not. You're not a child
anymore, you're right, you have
changed. Oh, Luli, when I saw you
there in the orchard, and heard
you humming that beautiful song
(beat) I felt (beat) it was like
a song by Schumann that (beat)
that stirs you without making you
feel the need to hold it tightly
in your arms, and have it only
for yourself, to say "you," face
to face, breathing it into you
possessively.
Lucica is affected Gabriela's burst of emotion. She looks
down at the paper in her hand, then looks at Gabriela, then
relents. Gabriela, appearing a bit self-conscious now,
settles herself into her seat as if to give Lucica space.
Lucica unfolds the paper, carefully collects the torn bits
in one hand, and begins drawing lines on the blank sheet.
38 LATER -- CONTINUOUS 38
Gabriela has fallen asleep. Lucica has filled up the blank
sheet, gathered up the bits of paper that lay spread out
next to her, and stands by the window. She leans with her
back toward the frame and studies the paper. She begins
singing and, as she does, she lets the torn bits slip
through her fingers out the window.
39 INT/EXT. TRAIN FIRST-CLASS COMPARTMENT -- CONTINUOUS 39
Tani is leaning out the window, listening to Lucica sing
softly, and watching the scraps of paper fly on the wind.
He is clearly affected, almost hypnotized.
EXT. TRAIN - WINDING ON TRACKS - CONTINUOUS
We see the train cars bend, which allows Tani to see Lucica
at her window.
TANI
You, again...!
40 INT/EXT. SECOND-CLASS COMPARTMENT -– CONTINUOUS 40
Lucica folds the paper, puts her face to the wind for a
moment, and then turns to notice Tani. They make eye
contact in an intense but brief exchange. She withdraws
inside.
LUCICA
(to herself)
A young man and an old man.
She turns from the window to tell Gabriela, but Gabriela is
still asleep. The suffused light within the compartment is
interrupted by the rushing shadow of chestnut leaves on the
trees outside the station. Suddenly the compartment fills
with sunlight.
41 INT/EXT. TRAIN FIRST-CLASS COMPARTMENT -- CONTINUOUS 41
Bogdan is smoking another cigarette. The scenery moves and
shrinks from view through the window.
Lucica leans out, the wind blows through her tresses
sensually. She gets a glimpse of Tani, but he doesn't look
at her.
Now Tani leans out, and she looks back at him, smiling.
Moments later she looks out, and he looks back directly
into her eyes, and a slow smile breaks over his face. She
blushes, and withdraws. Moments later, she sees his head
leaning against the window frame.
42 INT. TRAIN FIRST CLASS COMPARTMENT -- CONTINUOUS 42
Tani is stretched out on the bench, his head against the
window frame, his facial expression indicates distress. He
rubs his forehead, his eyes are closed.
FLASHBACK:
43 EXT. TRAIN STATION -- YEARS AGO 43
Bogdan as a young boy on the steps of a train. Steam is
blowing from under the tracks, engulfing the figure of his
MOTHER, whom we do not see clearly, then dissipates. She
lays her hand on his shoulder as he descends. She is young,
attractive, dark-haired.
BOGDAN'S MOTHER
Little Tani, climb down slowly,
my darling, so you don't trip.
RETURN TO
SCENE:
44 INT. TRAIN FIRST-CLASS CORRIDOR -- CONTINUOUS 44
Lucica appears nervous, but driven as she opens the door to
the first class cars. From the access door she sees Bogdan,
whose head is resting against the window frame. He looks
ill, pale, perspiring.
FLASHBACK:
45 INT. YOUNG BOGDAN'S BEDROOM -- YEARS AGO 45
Young Tani is lying in bed, feverish. His mother is
pressing a compress to his forehead.
RETURN TO
SCENE:
46 INT. TRAIN FIRST-CLASS COMPARTMENT -- CONTINUOUS 46
Tani is slouched feverishly against the window. Lucica is
pressing her hand against his face. She helps him stretch
out on the bench-seat. He seems delirious. She loosens his
tie, unbuttons his collar. Then she draws the window shade
shut. He opens his eyes. He sees Lucica's face.
LUCICA
(calmly)
I'll be right back.
Tani reacts with a desperate, delirious look, as though
afraid she will not return.
LUCICA (CONT'D)
Shh. I'll be right back. I
promise.
FLASHBACK:
47 INT. YOUNG BOGDAN'S BEDROOM -- YEARS AGO 47
Young Tani is delirious, desperate. His mother comforts
him, cooling his forehead with a compress.
BOGDAN'S MOTHER
Hush now, be still. I'll bring
some more cool water.
YOUNG TANI
(terrified)
Mama, don't leave me.
BOGDAN'S MOTHER
(consoling him)
Shh. It's all right. I'll be
right back. I promise.
RETURN TO
SCENE:
48 INT. TRAIN FIRST-CLASS COMPARTMENT -- CONTINUOUS 48
Lucica returns with a compress, a lemon, and a cup with
steam rising from it. She presses a moist compress against
Tani's face and forehead. Then she squeezes a lemon into a
cup of steaming black coffee, which she has brought back
with her. She reaches behind his head and steadies it, and
helps him sip the drink.
TANI
That smell…
LUCICA
Lemon.
TANI
No, no, coming from outside.
LUCICA
Linden flowers. They must be
everywhere. Now rest quietly.
She studies him, and looks closely at his face as she
tracks his features from the wisps of white hair, his
prominent forehead, damp cheeks, dry lips. She seems
relaxed, though concerned. Tani is semi-conscious, drifting
in and out of awareness.
FLASHBACK:
49 INT. ORTHODOX CHURCH - FUNERAL MASS -- MORNING YEARS AGO49
Tani's mother is lying in a casket. Young Tani watches with
an intense expression, observing funeral rights. Many
people, many candles, sound of BELLS, chanting, weeping.
YOUNG TANI
(sorrowfully)
Mama, don't leave me.
RETURN TO
SCENE:
50 INT. TRAIN FIRST CLASS COMPARTMENT -- LATER 50
Tani awakes, his color returned to his cheeks. He realizes
he is alone in the compartment. The shades are drawn
closed. He gets up and opens the shade to look out. The
train has pulled into the station at Galati. He
straightens his tie, smoothes back his hair, puts his hat
on and exits the car.
51 EXT. TRAIN STATION, GALATI, ROMANIA -- CONTINUOUS 51
Steam billows from underneath the train, a flock of
sparrows bursts into view, and we hear the sound of a train
WHISTLE. Tani steps down from the train, looks anxiously in
all directions when suddenly Lucica and Gabriela pass by
him. They walk by smiling. He touches his hat and bows his
head, locking his gaze on Lucica. She smiles. Gabriela
observes and does a double take of Tani as they pass him.
GABRIELA
(curious)
How do you know him?
LUCICA
I don't.
GABRIELA
Honestly? You really don't know
who that is?
LUCICA
No, I don't.
GABRIELA
Catul Bogdan! Lucica!
LUCICA
The writer?
Gabriela smiles and slips her arm through Lucica's, and
leans toward her.
GABRIELA
Your "colleague."
Lucica removes her hat and shakes her luxurious black
tresses like a stallion, as she throws back her head and
laughs.
52 SUPER: AND THE HAND'S TREMOR THAT SEEKS IT… 52
53 INT. HOTEL LOBBY -- LATER 53
Tani walks across woven rugs, overhead there are
chandeliers, wood paneling. He checks in. Everyone
recognizes him.
54 INT. HOTEL SUITE -- LATER 54
A spacious room, heavy velvet curtains at the windows,
suffused light. Tani is lying in bed; his tie is off, his
shirt opened at the collar. He gets up, walks to the
balcony and looks out.
55 EXT. CITY STREET – EVENING 55
Moderate activity, carriages, people walking, sounds of
cafes. Tani rounds a corner. It is as if he is looking for
something or someone. The streets are lined with linden
trees, which he observes by frequently touching them, as
though guided by them. He finally stops at an outdoor cafe
and sits at a table. He motions to the waiter. Women take
notice of him. One woman sits at his table, and flirts. He
is aloof. She moves her hand closer to his, but he only
pats it as he stands up. He leaves a generous tip on the
table and walks away.
56 INT. HOTEL SUITE -- MORNING 56
Tani is writing at his desk. There is a KNOCK at the door.
TANI
(Annoyed)
Who is it?
COSTEL (O.S.)
It's Costel. Good Morning,
Professor Bogdan. You forgot to
telegraph me when you arrived --
Tani walks over and opens the door.
INT./EXT. HALLWAY -- CONTINUOUS
The young man standing in the hallway removes his hat
ceremoniously, and extends his hand.
Tani smooths back his hair, self conscious of Costel's
vibrant youth. An attractive woman passes in the corridor,
and Costel watches her as she looks past him, and directly
at Bogdan.
COSTEL (CONT'D)
The reception is already under
way.
57 INT. LARGE CONFERENCE ROOM -- LATER 57
A noble setting, many students and faculty, tables with
food and beverages. People are chatting, eating, and
drinking. Bogdan is standing near the doorway with his hat
and his gloves in his hands. Gabriela is sitting with her
back to the window, and meets Bogdan's eyes from across the
room. He doesn't salute her, but looks about casually for a
glimpse of Lucica. Gabriela is quite involved in her
observation of Tani, so much so that a colleague notices
and nudges her. She smiles, embarrassed, but resumes her
gazing. Tani looks across the room again and meets
Gabriela's gaze.
58 INT. LARGE CONFERENCE ROOM -- CONTINUOUS 58
SOUND of applause. Tani is startled from his daydream, and
realizes he must speak.
TANI
(waxing poetic)
Thank you. You have honored me
deeply with your warm reception.
I have never been to Galati
before. I do not know its
museums, its monuments, its
theatres, or its streets. But I
know its linden trees, and the
perfume of their flowers. It's
not only in the air,
but on your clothes, your hands,
your hair, at night when you
sleep, it covers you. Even now,
in this very room it gathers a
city of Linden trees in bloom and
summer nights.
Just as Tani concludes Gabriela makes her way through the
crowd, toward him, but she cannot overcome the people in
her way.
59 EXT. CITY STREET -- LATER 59
There is moderate activity, people walking, an occasional
automobile passes. Gabriela is walking as though possessed.
The sound of the wind moving in the trees makes her appear
nervous and hasty. She repeatedly looks back over her
shoulder as though at any moment Tani might appear.
60 EXT. STREET IN FRONT OF NEI AND NOVLEANU HOUSES -- MOMENTS60
LATER
Lucica is walking toward Gabriela. Gabriela is relieved to
see her friend. Lucica is carrying a fistful of linden
flowers. They meet.
LUCICA
How was the reception?
GABRIELA
Oh, you know, the usual. (beat)
Nothing interesting.
61 EXT. CITY STREET -- DAY 61
Tani is standing on a street corner. People are bustling,
shops are doing business. He removes a handkerchief from
his breast pocket and pats his forehead. He is visibly
preoccupied, searching with his gaze. As he walks, people
notice him.
62 EXT. PARK WITH SMALL LAKE -- MOMENTS LATER 62
People are walking, some sitting on benches, some, reading.
Tani takes a seat on a bench near the edge of the lake. Two
swans are gliding past. He watches them intently. Close up
of the swan's neck dissolve into the next scene.
63 EXT. CITY STREET -- NIGHT 63
Tani exits a cafe and hails a carriage. One stops and he
opens the door and climbs in.
64 INT. COACH -- CONTINUOUS 64
Coachman
Where to this evening, sir?
TANI
Around the city.
Tani retrieves his notebook and flips to a page.
TANI (CONT'D)
Luli…
65 INT. AMPHITHEATER -- DAY 65
Desks in rows filled with students. Costel is calling the
roll. Tani is the proctor for the exam, sitting off to the
right of the podium, gazing out the window.
COSTEL
Antonescu, Amalia…Novleanu,
Lucia…
Costel looks up, waiting for a reply when Lucica appears in
the doorway. She smiles and enters.
66 LUCICA 66
Present.
At once Tani looks across the room and watches her walk to
her desk. He is enchanted. Lucica doesn't notice him at
first. She passes by an open window near her desk and looks
out impetuously. She leans out to breathe in the fresh air.
67 COSTEL 67
(agitated)
Excuse me, Miss-please don't communicate with persons
outside. You are in class now.
Lucica draws her head slowly back inside, and turns as
though ready for battle.
TANI
(interceding
with authority)
Mr. Larian!
COSTEL
(boldly)
Sir?
Lucica recognizes Tani, who demonstrates great charm and
confidence.
TANI
Mr. Larian, what month is this?
COSTEL
June, Professor, but what does
that-
TANI
How old are you, Mr. Larian?
COSTEL
Twenty-four.
TANI
That old, eh?
(smoothing his hair
back)
Tell me, Costel, what does a
young man do on a June morning?
COSTEL
Do?
TANI
I didn't think you did. Let me
tell you what he does. He strolls
&n