A script by Anna Tchernakova
© 2004
Based on the original idea by Anna Tchernakova
Inspired by writings of Etel Adnan
The Script is registered with the Writers' Guild of Canada
and developed with the CNC 'Aide a la Re-Ecriture' fund, France
Six Draft –
March 2004
EXT – PARIS NOWADAYS
- DAY
A grey day in
Paris. The headlights of cars reflect in the wet asphalt of the streets, and
cafes with their round tables behind big windows become particularly attractive
to a shivering PASSER-BY...
Two figures move
slowly in the crowd - one is LAILA, an elegant middle-aged woman wearing an
embroidered shawl over her head and shoulders. Another, small, old, under a big
black umbrella, is her AUNT.
AUNT
…Zaira, Janine,
then Nayla, the niece of Mireille who has just come back from Beirut…
LAILA
(interrupting)
No, darling,
because in the last twenty years every time you invite me for dinner, I am
introduced to a widowed banker or a divorced lawyer...
Aunt and Laila
cross a street. A gust of wind flips over their umbrella. The women stop and
struggle with it in the middle of the road.
A YOUNG MAN ON A
MOTOR-BIKE takes off his helmet to wipe his face. He smiles at Aunt and Laila.
Laila smiles back.
Cars impatiently HONK their horns around them. The umbrella is finally
conquered. Aunt pulls her away.
AUNT
You have a terrible
taste in men, that's why you're alone.
LAILA
I want to be alone,
darling...
Laila and Aunt
continue to the pavement. They pass an EAST-EUROPEAN STREET MUSICIAN playing an
accordion, an open case with very few coins in front of him. He plays with
amazing skill. Aunt stops and puts a small coin in the case.
AUNT
Where do they come
from? Some Bulgaria… Poor souls… We'll have troubles with them all now coming
to Europe… Laila, are you listening to me?… Tell me when are you going to the
Prefecture?
LAILA
Tomorrow.
Aunt pats Laila on the cheek.
AUNT
Please, Laila. Come
for dinner. I'll make your favourite labneh.
Without letting
Laila say anything in response, Aunt kisses her and descends into metro.
EXT. PARIS, STREET
WITH A BOOKSTORE - evening
DROPS OF RAIN
falling from the sky.
Laila looks up and
wraps her embroidered shawl tighter around her head.
She runs across the
street and steps under the cover of a bookstore, with stalls on the pavement
protected by orange plastic roof.
One of VENDORS, A
YOUNG WOMAN IN UNIFORM, comes out of the shop with more books, which she
arranges on the counter.
Among the books,
are a few volumes of 'world poetry series' — French translations of
Akhmatova, Yeats, Haiam, Gibran…
Laila picks up a
paper-back edition of poems by Khalil Gibran, opens, reads a few lines.
LAILA
(to the vendor)
Is this a new
translation?
The woman puts
books down and turns to Laila
VENDOR
Do you want me to
check if we have others?
LAILA
No, but… In Arabic
a word changes depending on the context: for example, 'aine' can be an eye or a
source of water... If translated incorrectly it may completely change the
meaning of that’s being said. Perhaps that's why there is so much
misunderstanding in the world now...
The vendor, books in
hands, waits impatiently.
VENDOR
I see. Is there
anything else I can help you with?
LAILA
No, thank you.
Excuse me.
She closes the book.
The NOISE OF THE
CITY increases in a tidal wave, drowning Laila in its MIXTURE OF VOICES and
languages, CAR HORNS and EVENING BELLS…
Behind Laila, at
the entrance to a small cinema, A WORKER puts up a poster of a new film: a
portrait of A YOUNG WOMAN in an old-fashioned dress. The sign on the poster
reads: 'A NEW FILM FROM RUSSIA'…
In the fused chorus
of voices of the crowd, one young female voice become more prominent, reading a
verse in French.
V.O. ALEXANDRA
I want to visit the
roses in that lonely garden where statues remember me young and I remember them
under the water of the Neva...
INT/EXT - RUSSIAN
LONG-DISTANCE TRAIN COMPARTMENT - DAY
ALEXANDRA, a
pregnant woman just over twenty, with vivid and intelligent expression, is
sitting on a lower berth in a compartment of a Russian long-distance train. She
is reading aloud, in French.
VARYA, THE ACTRESS
FROM THE POSTER, with careful make-up and a scarf around her head, is on the
opposite berth, listening.
On a small Formica
table between them, among four empty tea glasses in metal glass-holders, a
half-open foil pack with hard-boiled eggs and a Russian newspaper, lies a BOOK
OF VERSES BY ANNA AKHMATOVA and hand-written notes.
A long evening
dress in a transparent plastic cover dangles behind Varya from the top berth.
The train is not
moving. Behind the window, on a
grey platform of a small Russian station OLDER WOMEN sell hot potatoes from big
metal buckets.
ALEXANDRA (CONT)
…There, the white
nights whisper about someone's impossible love. And everything is glowing like
pearls and jasper but no one knows the source of the light…
Alexandra stops
reading and looks at Varya.
VARYA
(in Russian)
I did not
understand a word but it sounds beautiful…
EXT. RUSSIAN
PLATFORM - DAY (CONT.)
The train shrugs.
There is a commotion on the platform with PASSENGERS hurrying back inside the
train.
By the entrance to
the carriage aN energetic girl (NATASHA)
exchanges money and potatoes with an OLD WOMAN. Natasha gets potatoes and jumps
on the train, as it stutters into motion.
The old woman stops
and watches the train go while putting the money in a pocket under her apron...
INT. RUSSIAN LONG-DISTANCE
TRAIN COMPARTMENT — DAY (CONT.)
NATASHA rushes
triumphantly into the compartment, hot potatoes wrapped in foil in her hands.
She is dressed in vivid colours and talks too loud.
NATASHA
(in Russian, interrupting)
Life is good,
girls! Our last Russian food!
Alexandra puts down
the book and gets off the berth.
NATASHA (CONT'D)
(in Russian, to Alexandra)
What are you up to,
Shourochka?
ALEXANDRA
(in Russian)
I'll be back.
INT. RUSSIAN
LONG-DISTANCE TRAIN CORRIDOR - DAY (CONT.)
Alexandra walks
along the corridor with the half-open sliding doors of other compartments -
most empty, with rolls of old yellow striped mattresses on the upper berths, a
few with PASSENGERS in tracksuit-bottoms and T-shirts dozing and playing cards…
LENA, a young woman
in the typical outfit of Russian passengers on long-distance trains - T-shirt
and tracksuit-bottoms - is following her three-year old son, VOVA running up
and down the corridor. Vova cheerfully runs into Alexandra. Alexandra turns
away to protect her stomach, then bends to Vova and tickles him. Vova giggles.
LENA
(in Russian)
Careful, Vova, the
lady has a baby in her tummy!
Vova, intrigued,
looks at Alexandra's tummy and hides behind Lena.
ALEXANDRA
(in Russian, to Lena)
Hot potatoes have
just arrived…
Alexandra continues
along the corridor.
INT. RUSSIAN
LONG-DISTANCE TRAIN TOILET - DAY (CONT.)
Alexandra opens the
toilet door: the floor is flooded. She doesn't enter and closes the door.
INT. RUSSIAN
LONG-DISTANCE TRAIN corridor - DAY (CONT.)
The TRAIN ATTENDANT,
an older slightly bloated man with a gloomy face, exits his compartment hands
full of empty tea-glasses.
ALEXANDRA
(in Russian)
It's all wet in the
toilet. Could you do something?
TRAIN ATTENDANT
(in Russian)
Just step over it.
I can't cut myself in two to take care of everything.
He moves Alexandra
aside and walks to the opposite end of the carriage. Alexandra sighs. She looks
around and notices a bucket and a mop. She takes them.
INT. RUSSIAN
LONG-DISTANCE TRAIN TOILET - DAY (CONT.)
Alexandra mops the toilet
floor, then comes inside and washes her hands.
She pushes down the
window and looks outside. The wind blows away her hair. She closes her eyes and
smiles.
INT. RUSSIAN
LONG-DISTANCE TRAIN COMPARTEMENT - EVENING
The train speeds
up. The outside air has already become blue, misty, giving the way to
approaching evening.
Natasha is
distributing paper plates with hot potatoes sprinkled with crushed dill-weed.
Varya and Lena are on the berth, Lena holding Vova. Alexandra perches nearby.
Natasha passes the
plates to Varya and Lena, then prepares one for Alexandra.
NATASHA
(to Varya)
I envy you so much,
Varvara Leonidovna! Posters all around Moscow, a dress from Zaitzev and a
premiere in Paris! And the film, the film is so good, I couldn't stop crying. I
bet you have piles of men all around you. I wanted to be an actress myself but
ended up a masseuse instead... However, I don't despair. I wrote to my German
in my very first letter: I need a house with a swimming pool - and love till
the grave.
LENA
(in Russian, ironically)
What else do we
need to be happy!
Natasha is slightly
offended by Lena's irony.
NATASHA
(in Russian)
There is nothing
special about pools. They all have them there, in Germany.
LENA
(in Russian)
And they all have
them in Zavidovo…
NATASHA
(in Russian)
I don't want to
have anything to do with those crooks!
Varya turns to the
window, silently disapproving. Alexandra notices it.
ALEXANDRA
(in Russian)
Look, it's already
Poland…
The train is now
speeding up passing a small station with a Polish name. Natasha waves her arms
in excitement.
NATASHA
(in Russian)
Europe, girls! Even
the air is different here!…
She turns away from
the window and puts more potatoes on Alexandra's plate.
NATASHA (CONT'D)
(in Russian)
Where did you say
your father lives?
Lena hushes
slightly pointing at Vova who has fallen asleep in her lap. The passing lights
of small stations illuminate women's faces.
ALEXANDRA
(in Russian, softly)
Hanover.
NATASHA
(in Russian)
Is he Jewish?
Nowadays only Jews can immigrate to Germany like this.
LENA
(in Russian)
It's none of your
business, Natasha!
NATASHA
(in Russian, making amends)
I mean… that's
good, the baby will grow up a German and won't have our problems...
LENA
(in Russian)
Or at least will
have a choice.
She looks at the
sleeping Vova and holds him closer. The boy's face is calm and clear. The
outside lights pass over it without disturbing.
NATASHA
(in Russian)
You, Shourochka,
and you, Lenochka, are so brave!... Who knows, you might still meet a good man
to marry... a foreigner…
EXT - STREETS OF
PARIS - EVENING
Laila stops near a
big brightly-lit merry-go-round: jumping horses and carriages slowly turning,
empty.
TWO AFRICAN
CHILDREN, a BOY of about ten and a little GIRL, are standing in front of it.
THEIR MOTHER, a
hefty woman wearing a long brightly-coloured skirt, is in a phone booth,
talking. Several shopping bags are resting by her feet.
Laila looks at the
children, who seem to be mesmerized by the merry-go-around.
LAILA
(to children)
Isn't it beautiful?
The girl nods. The
boy looks at Laila, distrustful.
LAILA (CONT'D)
(to children)
Would you like a
ride?
BOY
We don't have
money.
LAILA
I'll pay for you.
…The mother, still
in the telephone booth, notices THE MERRY-GO-AROUND OWNER helping children to
get on the horses. She abruptly finishes her call and dashes out.
MOTHER
(to children)
Get down! I told
you no ride!...
LAILA
(interrupting her)
Let them enjoy it.
It's my treat.
The mother turns
around.
MOTHER
Yours? Why? I don’t
agree!
(to the merry-go-around
owner)
Take them down!
LAILA
They really wanted
to have a ride.
MOTHER
(annoyed)
So what? Children always want
something, so if one listens to them… I don't tell you how to bring up your
children, do I?...
Laila's smile
fades.
mother
…So leave mine alone!
LAILA
Excuse me.
She turns around
awkwardly and walks away. The merry-go-round turns faster and faster...
INT. RUSSIAN
LONG-DISTANCE TRAIN, corridor - NIGHT
...becoming the
lights of approaching Hanover. The train passes by the outskirts of the city.
Varya is resting on
the top berth. Vova is asleep on Lena's lap.
Natasha and
Alexandra are in the corridor. Alexandra is wearing a big buttoned up coat,
which almost disguises her pregnancy.
NATASHA
(in Russian, looking out the window)
Dear girls, we are
almost there! What's happening with me, I have goose bumps!… My German man is surely already on the
station. He wrote to me that he likes everything being exactly on time…
INT. RUSSIAN
LONG-DISTANCE TRAIN, compartment - NIGHT
Natasha dashes to
the compartment, finds her bag, opens it and takes out two blouses. As she
starts speaking, rather loudly, Lena makes a 'hush' gesture, pointing to Vova
who is still asleep, in spite of the movement around him. Natasha continues in
a whisper. She shows her blouses to Varya.
NATASHA (CONT'D)
(in Russian)
Varvara Leonidovna,
dear, tell me which to wear: this one, open-neck, 'Channel', or this one, pink
and alluring?
Alexandra enters
the compartment to take her bags. Lena moves along the berth, turning the
sleeping Vova around so that she can hold him in her arms.
ALEXANDRA
(in Russian)
I am off.
LENA
(in Russian)
Good luck.
VARYA
(in Russian)
Take care of
yourself, Alexandra.
Natasha in her
'alluring' blouse gives her make up a final touch-up.
NATASHA
(in Russian)
Shourochka I can't
kiss you I've already put lipstick on…
EXT. CENTRAL
STATION IN HANOVER - NIGHT
A VOICE IN GERMAN
on the loudspeakers announces the late arrival of a train from Moscow. It seems
that the platforms are almost deserted, except for A SMALL MAN in his early
sixties wearing glasses, a cap and a worn shoulder bag. It's GARIK, Alexandra's
father. He scuttles towards the train from the opposite side of the platform
and walks along as it stops, anxiously looking in the windows.
On his way he
almost bumps into a BEER-LOVING GERMAN MAN with a hand-written sign 'Natasha'
also walking along the train but in the opposite direction!
ALEXANDRA
(off-screen)
Papa!
At the sound of his
name, Garik turns round.
The train attendant
lowers the step. He jumps onto the platform and helps Alexandra and her bags
down, right into Garik's arms.
INT. CENTRAL
STATION IN HANOVER, CAFETERIA - NIGHT
A 24-hour
clinically clean, empty station cafeteria. A CASHIER is half-asleep behind the
counter.
Garik puts
Alexandra's bags by one of the tables.
ALEXANDRA
(in Russian)
I thought you lived
very near Hanover.
GARIK
(in Russian)
I do but there are
no trains there till morning. Coffee?
ALEXANDRA
(in Russian)
Dad, I can't have
coffee.
GARIK
(in Russian)
Of course, of
course, honey-pie, I wasn't thinking... Hungry?
ALEXANDRA
(in Russian)
No, it's fine, I'll
wait.
GARIK
(in Russian)
It's not every day
that my daughter comes for a visit!…
Alexandra watches
Garik go to the counter. Garik puts on his glasses and carefully checks the
available selection of snacks and their prices. He says something to the
cashier. The cashier doesn't seem to understand. Garik repeats and points to
the display.
He takes two cups
and a bottle of water from the display fridge and returns to the table.
GARIK (CONT'D)
(in Russian)
...don't worry
about me, I'm on a special diet... Imagine, I was very ill recently... My
intestines again, but this time I was really poorly… Are you hanging on,
honey-pie? I remember your mum was nauseous till her fourth month, and then it
stopped all of a sudden. Here, have some water…
Garik pours
Alexandra a glass of water but then, as he speaks, absentmindedly drinks it
himself.
GARIK (CONT'D)
(in Russian)
You struck me dumb,
honey-pie, I should tell you. Why didn't you write in advance?!
ALEXANDRA
(in Russian)
I was not sure I
would keep it.
GARIK
(in Russian)
I haven't seen you
for a long time. You look well...
He pats her on the
hand.
GARIK
(in Russian)
How's your work?
Found a publisher?
ALEXANDRA
(in Russian)
Not yet...
GARIK
(in Russian)
Good, good... You
see, there are a couple of things we should talk about straight away... First…
I have a relationship...
Alexandra nods
ironically.
ALEXANDRA
(in Russian)
... with a young,
intelligent woman, right?…
GARIK
(in Russian, apologetically)
No, rather… a young
man.
ALEXANDRA
(in Russian, cannot believe it)
Dad, are you mad?!
GARIK
(in Russian)
Well, honey-pie,
anything can happen in the twilight of one's life… Don't tell mum, agreed?…
You'll like him, he is a Philosophy student, we're writing a book together…
Garik pours himself
more water. He takes out a small container with pills, shakes one out onto his
palm, swallows and washes it down with water.
GARIK (CONT'D)
(in Russian)
I need to take care
of myself, you know…
ALEXANDRA
(in Russian)
What are the other
things you want to tell me?
GARIK
(in Russian)
You know,
honey-pie, I… Well, you are a big girl now… You see, I live on welfare. My
apartment is tiny, council pays for it. It doesn't matter, we'd figure out
something, but… I won't be able to pay for you in the hospital, you see. What
if you looked around, decided how you like it… and came back with all the
proper documents later?.. I will apply for you, I promise. It takes time,
seven-nine months perhaps but then you'd have a work permit, free medical care,
social help… What do you think? Back home, mum by your side, I know you argue
you two but it'll be easier with a baby, ah?... Wait, I think it’s ready…
Garik readily dashes to the
counter where the cashier has now put the hot dish.
Alexandra remains at
the table watching Garik's exchange with the waiter. It appears that the dish
is not what Garik has ordered. Garik gives up, takes the plate and returns to
the table.
He puts the food in
front of Alexandra.
GARIK (CONT'D)
(in Russian)
Eat… May I ask you,
your… how to call him… the man of your choice… he doesn't help you at all, does
he? Who is he, if it's not a secret? Do I know him?
ALEXANDRA
(in Russian)
He's not a part of
the equation, dad...
Garik is sadly
silent, wiping his glasses.
ALEXANDRA (CONT'D)
(in Russian)
You should have
told me on the phone that I should not come.
GARIK
(in Russian, weakly protests)
No, honey-pie, it's
not like that at all. I am glad you're having a baby. Just that it's a little
bit unexpected… Eat...
ALEXANDRA
(Russian)
I am not hungry.
Alexandra pushes
the plate away. A German voice on
the loudspeakers announces the departure
of a train to Cologne.
ALEXANDRA (CONT'D)
(in Russian)
I won't stay, don't
worry.
A different voice on the loudspeakers, in French, repeats the announcement
that the train to Paris via Cologne will
depart in ten minutes. Alexandra gets up and puts on her coat.
ALEXANDRA (CONT'D)
(in Russian, having made a decision)
I've never been to
Paris. It's not far, is it? Let's go...
GARIK
(in Russian)
Paris?
EXT- CENTRAL
STATION IN HANNOVER, PLATFORMS - night
It's dark, wet and
cold. PEOPLE ON THE PLATFORM are huddled up in their coats, waiting for the
train to arrive.
GARIK
(in Russian)
Why Paris,
honey-pie?! What are you going to do there?!...
Alexandra doesn't
respond.
Behind Garik and
Alexandra some PEOPLE SPEAK RUSSIAN. Garik turns around to glance at the crowd.
GARIK (CONT'D)
(in Russian)
Russian people get
under way - Yaroslavl, Hanover… Are you angry with me? Please take some money
for the journey.
He opens out his
wallet.
GARIK (CONT'D)
(in Russian)
The other day I was
paid for some translations…
ALEXANDRA
(in Russian, firmly)
I don't need it,
dad.
The train arrives,
stops, brakes squeaking. Doors open. PEOPLE start to get on the train.
Alexandra takes her
bag and moves towards the door. She gets in, then remembers something and steps
back onto the platform.
ALEXANDRA (CONT'D)
(in Russian)
Almost forgot…
She opens the bag
and gets out a bottle of vodka, a few Russian magazines and a hand-knitted
sweater and socks.
ALEXANDRA (CONT'D)
(in Russian)
For you… Mum made
them, she said you were always cold.
GARIK
(in Russian)
May be you'll stay,
honey-pie?... What if something happens....
Alexandra doesn't
respond. She closes the bag. Garik, his hands full of presents, helplessly
watch her get on the train.
GARIK (CONT'D)
(in Russian)
Don't think badly
of me… Let me know how you… manage.
int – corridor of a
train for paris - night
Alexandra walks
along the carriage, looking for a free seat. A FELLOW PASSENGER helps her with
her bags.
Outside, Garik
approaches the window.
The WHISTLE is
blown and the train starts moving, slowly increasing speed. Alexandra looks at
the small figure of her father.
Garik walks along
the train, then as its speed increases, he stops and turns away…
EXT - AUNT'S
APARTMENT - EVENING
An imposing
19-century apartment building. Laila presses the button of an entry-phone at
the front door. She is holding an open box with small Lebanese cakes and
baklava.
V.O.AUNT
Yes?
LAILA
It's me, darling. Have
you made the labneh you promised? Because if not, I won't come in.
Aunt buzzes the
door open.
INT - AUNT'S
APARTMENT, STAIRS - EVENING
As Laila exits the
lift, Aunt is already waiting for her at the open door. Voices are heard coming
from the depth of the apartment behind her.
LAILA
I brought something
for dessert... Is Nayla already here?...
She hands to Aunt
the box with cakes. They enter the apartment.
INT — AUNT'S
APARTMENT, CORRIDOR - EVENING
Laila unwraps her
shawl. Aunt looks critically at Laila's dress, her face devoid of make-up...
AUNT
Come with me for a
moment.
INT — AUNT'S
APARTMENT, BEDROOM - EVENING
She ushers Laila
into a bedroom. There she opens a wardrobe and takes out a few bright blouses
on hangers. She tries them one by one holding close to Laila's face.
AUNT
(having decided)
Put this on...
LAILA
Why?
Aunt ignores
Laila's question. She digs in her box with jewellery and takes out a necklace
and ear-rings.
AUNT
This should go well
with the blouse... Do you have a lipstick?
Resentful, Laila
however starts to change.
LAILA
(with slight suspicion)
Why am I doing it,
darling? You said there would be no bankers nor lawyers...
AUNT
You are a woman,
Laila, you should always take care of yourself...
As Laila freshens
her make-up, in the silence, they hear voices coming from the living room. Most
prominent is a male voice (FRENCH PROFESSOR).
V.O. FRENCH
PROFESSOR
...concept of
social loyalty as self-annihilation, and the phenomenon of self-affirmation via
self-deceit, typical for any Arab culture. I know it very well because when I
was very young I was in love with a very beautiful Lebanese woman. I was
prepared to marry her, however, the pressure of social expectations back in
Lebanon where such that she renounced our love and went back to Beirut to marry
a man, a complete stranger, who was the choice of her parents. It was in 1974, just before the war.
Tragically few years later I heard that all family was killed...
LAILA
Who is that?
AUNT
(whispering)
Hush!!! It's a
friend of Janine's husband, a university professor. He is a very nice man,
darling, and handsome, too, brought a bottle of Dom Perignon, real class!...
LAILA
Where's his wife?
AUNT
(whispering)
He doesn't have
one...
Laila takes off
Aunt's blouse, changing back into her own clothes.
LAILA
I am not going in.
AUNT
(whispering)
You can't leave
now!
LAILA
Indeed I will! I've
told you before to stop presenting me to various clods! You promised!
AUNT
(whispering)
Laila, you're not
young anymore so you should not be too picky. You need a husband before it's
too late.
LAILA
(loudly)
Consider it too
late, darling.
She wraps her shawl
around and walks out of Aunt's apartment, slamming the door behind her.
INT — AUNT'S
APARTMENT, STAIRS - NIGHT
As Laila waits for
the lift she hears voices in Aunt's
apartment, behind the closed door.
FEMALE VOICE
I heard the door,
is it Laila?
V.O. AUNT
(explaining)
No, it was a
delivery for the neighbours…
EXT - STREETS OF
PARIS - NIGHT
Laila walks along a
narrow street, poorly lit street in an Arab neighbourhood, starkly different
from the bourgeois surroundings of her aunt's house.
She looks at the
faces of people she passes.
One of the last few
late-night shops is closing, an ARAB OWNER is pulling down and locking the iron
curtain…
TWO ARAB MEN are
standing in front of a cafe, smoking…
A VENDOR is
cleaning the counter in a Chinese cafeteria…
Several WRAPPED
BODIES of sleeping hobos loom on the steps of a church…
Laila finds herself
at the end of the street, facing a railway station across a square. She crosses
the road towards the station.
INT. RAILWAY
STATION - NIGHT
Laila walks across
a huge empty hall at the further end of which a WORKER moves back and forth on
top of an automated cleaning machine.
EXT. RAILWAY
STATION - NIGHT (CONT)
Outside, the
platforms are foggy and deserted except for a SMALL GROUP OF PEOPLE under the
'arrival' table announcing the arrival of a delayed train from Germany.
As Laila walks
along the platform, the train appears from the fog, pulls its body into the
station and heavily stops.
Silenced by the
fog, PASSENGERS descend from the train and walk towards the station.
Laila looks at the
people passing by her: THOSE WHO ARE BEING MET, and greeted, hugged and kissed…
THOSE WHO WALK HURRIEDLY AND BUSINESS-LIKE ALONE… THOSE WHO WALK SLOWLY
DRAGGING THEIR LUGGAGE BEHIND...
Among the
passengers is ALEXANDRA.
Laila looks at her.
Alexandra passes Laila and disappears inside the station.
INT - HOTEL IN
PARIS, LOBBY - NIGHT
A small foyer of a
very modest hotel with stairs winding up. Threadbare carpets, faded wall-paper,
pictures of Paris in cheap frames…
Alexandra is
talking to the OWNER, a middle-aged Algerian.
OWNER
…That's the best
price I can give you. You need to pay in advance…
Alexandra nods.
OWNER (CONT'D)
Your passport
please.
Alexandra hands him
her passport. He fills in the form.
OWNER (CONT'D)
The showers and
toilets are by the stairs. Showers are five euro.
ALEXANDRA
How much are the
toilets?
OWNER
The toilets are on
the house...
INT/EXT - HOTEL IN
PARIS, ROOM - NIGHT
Alexandra enters
her room. She puts her bags on the floor, switches on the light.
The room is small
but tidy. Its walls are covered with old floral wall-paper. In a corner there
is a small sink.
Alexandra opens the
window, letting in fresh cold air and the noise of the street.
She unzips one of
her bags, takes out a notebook, a Russian paperback of Benjamin Spock's 'My
Baby' and the edition of Akhmatova. In a pocket of her bag she finds a portable
water heater, left-overs of bread wrapped in foil and a few loose tea bags…
…With a glass of a
freshly-made tea Alexandra is standing by the open window. People pass by, cars
turn round the corner, and A COUPLE runs across the street laughing…
EXT. PARIS, STREET,
NEWS STAND – MORNING
Early hour, grey
but clear. A NEWSVENDOR in a raincoat spreads semi-transparent plastic over the
sides of the kiosk to protect newspapers.
THE HEADLINES and
PHOTOGRAPHS describe a new suicide attack in Iraq.
INT. PARIS, LAILA'S
APARTMENT, kitchen – MORNING
In her kitchen,
Laila, in a dressing gown, opens the window. A bunch of pigeons noisily take
off and fly away.
Drinking coffee,
Laila looks through the new mail. She opens an officially looking letter, scans
it, puts aside.
She tops up her cup
and takes the Gibran book lying on the counter when somebody knocks at the door.
INT. PARIS, LAILA'S
APARTMENT, corridor –
MORNING
Laila opens the
door. Aunt, all dressed and made-up, as if she is going to a Sunday mass, steps
into the apartment.
LAILA
What are you doing here?
AUNT
We are going to the
Prefecture this morning, you forgot?…
LAILA
I haven't had my
breakfast yet!
AUNT
No time for this,
Laila!
She critically
looks at her.
AUNT (CONT'D)
Go comb your hair
and dress. You need to look like a respectful French lady with means…
INT – PARIS,
HOTEL LOBBY - MORNING
Dressed to go
outside, Alexandra comes down the steps and stops by the counter.
The unshaved hotel
owner appears from the back room, chewing on something. In the daylight and he,
and the lobby look even shoddier.
OWNER
Leaving?
ALEXANDRA
No. I'll pay for
another night.
OWNER
(surprised)
I'll have a room
with a toilet available later today but it costs a bit more…
ALEXANDRA
No thanks, I'm
fine.
EXT – PARIS,
STREET NEAR HOTEL – MORNING
Alexandra steps out
of the hotel and looks around.
There is a
newsstand on the opposite corner of the street. Alexandra walks to it.
A newspaper vendor,
KOREAN WOMAN, emerges from under the newspapers.
ALEXANDRA
Do you have
'Russian Thought'?
KOREAN WOMAN
What?
ALEXANDRA
A Russian newspaper
published in Paris, called 'Russian Thought'?
The Korean woman shakes her head
and shrugs her shoulders.
ALEXANDRA
Do you know how to
get to Faubourg St. Honor»?
KOREAN WOMAN
Don’t know.
ALEXANDRA
Do you have a map
of Paris?
The Korean woman
gets a map and hands it to Alexandra.
KOREAN WOMAN
Three fifty.
INT - PARIS,
LAILA'S APARTEMENT - MORNING (CONT.)
Laila emerges from
the bedroom, changed into an embroidered dress.
Aunt puts down the
Gibran book she has been studying.
AUNT
Don't you feel
better! It is important, all these small details! Now let’s go. Do you have all
the documents you need?
int. paris, laila’s
apartment, bedroom – morning (cont.)
Laila opens a drawer, takes out
a big brown envelope and shakes its contents on the bed. She hastily checks the
documents and puts them back in the envelope…
int. paris, laila’s
apartment, corridor – morning (cont.)
Laila comes back to
Aunt with the envelope. Aunt nods, reassured.
INT. PARIS, LAILA'S
APARTMENT STAIRS — DAY (CONT.)
Laila locks the
apartment. She opens the lift door for Aunt.
AUNT
Now tell me do you
feel ashamed of your behaviour last night?
Laila closes the
lift door from the outside.
The cabin with Aunt
starts descending. Laila walks down the stairs following the lift, Aunt
continuing talking from inside.
V.O. AUNT
I had to invent all
kinds of excuses to explain why you didn't come for dinner... What do you want
me to say when people ask me why you live alone? I am old, you know, I won't be
around forever to take care of you when you are in need…
Laila is listening,
silent, slowly walking down the steps.
EXT. PARIS,
faubourg sainte-honore, OFFICE OF "RUSSIAN THOUGHT" – DAY
Alexandra walks
along the street, looking at the street addresses.
She turns under an
arch, walks across a paved yard and stops by a door with a plate saying:
"Russian Thought", 1st floor'
INT. PARIS, OFFICE
OF "RUSSIAN THOUGHT" -
DAY
A big apartment
transformed into a publishing house. Cigarette smoke is suspended in the air,
making the apartment look like a ghost house.
A small nook of the
corridor serves as a reception. An older, distinguished looking woman,
BARONESS, laboriously types on an ancient typewriter.
A SKINNY WOMAN IN
JEANS smoking a cigarette is standing by a long table in the middle of the
room, beside a palm in a big porcelain pot with blue Russian folk
ornaments. She is paging a
collection of old yellow newspapers.
As Alexandra enters
the room, the women stop what they are doing and look at her.
ALEXANDRA
(in Russian)
Good morning.
The women nod in
response. Alexandra chooses Baroness as the one to speak to.
ALEXANDRA (CONT'D)
(in Russian)
My name is
Alexandra Golubeva, from Moscow...
Alexandra pauses.
Baroness looks puzzled.
ALEXANDRA (CONT'D)
(in Russian)
You published my
article about translating Akhmatova...few months ago...
Baroness clearly
doesn't remember anything about the article but she nods and smiles.
BARONESS
(in Russian)
Of course, dear
girl, very nice to meet you in person…
At this moment the
front door slams and a dishevelled man (PETR SERGEEVICH) with two old cardboard
suitcases appears in the room. He drops the suitcases on the floor, blows his
nose and grins widely.
PETR SERGEEVICH
(in Russian, loudly)
Here I am! The
place is not bad, but a bit dirty. But don't worry. So when do you finish work?
SKINNY WOMAN
(in Russian)
How can we help
you?
Petr Sergeevich
approaches the woman and shakes her hand.
PETR SERGEEVICH
(in Russian, joyfully laughs)
I am Petr
Sergeevich, a dog breeder from Khabarovsk. Don't worry, I don't need money,
just to stay overnight... The French, bastards, did not let us in the hotel...
He looks around.
PETR SERGEEVICH
(CONT'D)
(in Russian)
We'll move the
table against the wall and fix a place on the floor… under the palm-tree, like
'Negresco', you've been there?
One of the suitcases
starts barking. Petr Sergeevich kicks it. The barking continues.
PETR SERGEEVICH
(CONT'D)
(in Russian)
She is as tired as
I am… Come here, my dear girl…
He opens the
suitcase and takes out a little shivering DOG (KASHTANKA), as dishevelled as
himself. The dog struggles to get down. Petr Sergeevich puts the dog on the
floor and the dog runs towards the palm tree.
PETR SERGEEVICH
(CONT'D)
(in Russian)
Kashtanka, catch!
Baroness gets up
from the table. The dog, frightened, runs towards Petr Sergeevich.
BARONESS
(in Russian)
My dear, you can't
stay here - a policeman drops by every night to check the place.
Petr looks
discouraged. He picks up the dog and clutches it to his chest.
PETR SERGEEVICH
(in Russian)
Buy the dog, then!
I'll do a good price, five hundred, a? She can do tricks!
BARONESS
(to someone in the corridor)
Leonid!
The dog whines.
PETR SERGEEVICH
(in Russian)
Four hundred! She's
still young, she can have puppies... Rare breed!
BARONESS
(shouts)
Leonid!
An older man with a
beard, EARL OSTROGUIN, appears from the corridor.
BARONESS (CONT'D)
(to Ostroguin)
Help!... This
gentleman doesn't have a place to stay...
PETR SERGEEVICH
(in Russian, to Ostroguin)
Two hundred! She
sings to the piano!…
Ostroguin picks up
Petr's suitcases.
OSTROGUIN
(in Russian)
Don't worry, we'll
think of something…
Holding the dog
Petr follows Ostroguin to the corridor. Their VOICES and the DOG'S WHINING are
heard for some time during the following scene.
Baroness takes off
her glasses and looks at Alexandra.
BARONESS (CONT'D)
(in Russian)
Please sit down… Do
you have a place to stay?
ALEXANDRA
(in Russian)
I am in a hotel.
BARONESS
(in Russian)
Not by yourself I
hope?
Alexandra shakes
her head. Baroness and the skinny woman exchange looks.
ALEXANDRA
(in Russian)
I thought I'd be
able to find work… To do something for you… I can also clean… or baby-sit…
teach Russian…
BARONESS
(in Russian)
Well, dear child,
there are so many of you…
(she notices Alexandra's
face and stops herself)
…Of course, we can always
publish an ad, free of charge...
SKINNY WOMAN
(in Russian, interfering)
Wait, Margarita
Ivanovna.
(to Alexandra)
Listen, don't waste
time. You need to apply for a refugee status… invent something, it will take a
few months for them to access the case, by that time the baby will be born!
Meanwhile you'll have some money and a medical insurance…
BARONESS
(in Russian)
You see, our
Irochka knows everything!
Irochka decisively unwraps a
sandwich and puts it in front of Alexandra.
SKINNY WOMAN
(in Russian)
Eat. I'll explain
how to get to the Prefecture…
INT. PARIS, OFFICE OF "RUSSIAN THOUGHT", entrance
– DAY
As Baroness opens
the door to let Alexandra out, they see Ostroguin who is giving a bowl of milk
to the shivering Kashtanka. Petr Sergeevich is gone.
BARONESS
(in Russian)
What's this,
Leonid?!
OSTROGUIN
(in Russian, guiltily)
Oh, it's fine… she
is a good dog… otherwise he'd have dumped her on the street...
Baroness sighs.
EXT - PARIS,
PREFECTURE
Under a monotonous
grey rain, a long queue of PEOPLE waits behind barriers near the imposing
building of Parisian Prefecture.
THOSE AT THE
BEGINNING have been there since early in the morning, and now they are putting
away their blankets, folding chairs, sharing a thermos with hot drink...
Laila and Aunt with
her black umbrella walk towards the entrance.
LAILA
It's a long queue.
AUNT
No, this is for
refugees. Poor things!...
Aunt closes her
umbrella and steers Laila to the other side of the barriers, directly to the
entrance.
An armed GUARD, a
policewoman with short hair, stops them.
GUARD
Can I help you?
AUNT
Where should we go
for the renewal of residential visa?
GUARD
You need to join
the queue and wait like everyone else.
Muttering Aunt and
ironically smiling Laila walk to the tail of the queue.
They join the queue
behind Alexandra, who is eating an apple and reading her Akhmatova book. Aunt
angrily reopens the umbrella.
AUNT
It never stops
raining in this city.
LAILA
It's good for their
agriculture, darling...
AUNT
I have to make a
call, Laila. I'll be right back.
LAILA
You don't need to
wait with me, you know...
AUNT
But I will, Laila!
Aunt waddles away,
to the public phones at the metro entrance.
The clock strikes
an hour. The guard moves away the barrier blocking the queue from the entrance
door and counts first ten people in the queue. She lets them in.
The queue slightly
moves forward. Alexandra turns pages, shuffling uncomfortably from foot to
foot.
Laila looks at her.
Alexandra feels the
gaze and raises her eyes from the book. Laila smiles compassionately. Alexandra
smiles back.
LAILA
(to Alexandra)
Would you like to
go and have a rest on a bench - we'll keep your place for you?...
Laila gently points to
Alexandra’s stomach.
LAILA
…How much time do
you still have to go?
ALEXANDRA
About two months.
Alexandra closes
the book and hesitantly starts towards the bench.
GUARD
(loudly)
Those doing
preliminary applications for political asylum, preliminary applications only,
come forward!
Alexandra turns
around.
ALEXANDRA
(to Laila)
It's me…
She hurries towards
the head of the queue.
Aunt reappears near
Laila.
AUNT
Who's that?
LAILA
I don’t know.
Aunt looks at Laila
with attention.
A DOZEN or so people including Alexandra gather
by the guard.
GUARD
Only five more can
be accepted today. The rest…
Alexandra moves
forward but so does everyone else. There is a commotion. A desperate MIDDLE-AGE
MAN forcefully makes his way to the front.
MIDDLE-AGE REFUGEE
(shouting)
I am here three
days! I sleep here three nights!
Caught inside the
crowd Alexandra tries to get out. She is pushed away, stumbles and falls
backwards on the pavement.
Laila gasps and
runs to Alexandra, who struggles to sit up.
LAILA
Wait! Don't move!
You can’t risk your baby!
Alexandra looks at
her, surprised.
The guard stops the
queue and make her way to Alexandra and Laila.
GUARD
Are you a doctor?
LAILA
No. She is
pregnant, she needs to be checked!
GUARD
Calm down, madam. I
understand. I'll call SAMU.
EXT - PARIS,
PREFECTURE - DAY (CONT.)
…The ambulance is
parked by the pavement near the queue
who is cautiously indifferent.
Alexandra is lying
on a stretcher. The DOCTOR holds an oxygen mask to Alexandra's face. Laila sits
by the stretcher, her shawl covering Alexandra's shoulders. Reluctant Aunt
keeps an open umbrella above their heads.
ALEXANDRA
(to Laila)
You should go, you'll
miss your turn…
The NURSE removes
the shawl and wraps Alexandra in a blanket. She and the DRIVER lift the
stretcher off the ground.
LAILA
(to the nurse)
Which hospital are
you taking her to?
NURSE
(to Laila)
Hotel-Dieux. Are
you a relative?…
LAILA
No.
The nurse turns
away from Laila.
Alexandra on a
stretcher disappears inside the ambulance. The doors close. The ambulance
drives off.
Laila notices
Alexandra's book lying forgotten on the ground. She picks it up.
Someone touches
Laila's shoulder. Laila looks up to see Aunt.
LAILA (CONT'D)
She lost her book.
AUNT
(interrupting)
Later, Laila. Now
we must hurry. It's our turn.
INT - PARIS,
PREFECTURE - DAY
A big sombre hall
with a couple of counters separated from the main space by bullet-proof glass.
There are PEOPLE waiting for their numbers to be called. It's noisy and
suffocating.
The SOUND OF YOUNG
CHILD CRYING accompanies the scene.
Laila and Aunt are
sitting by a counter. A CLERK, an UNSMILING MIDDLE-AGED WOMAN, is looking
through Laila's papers. Laila is holding an empty brown envelope and Aunt is
anxiously following the clerk's movements.
CLERK
We sent you a
reminder…
LAILA
Yes, I am sorry,
I...
CLERK
You left it very
late, madam... Passport… Proof of
residence… Do you have any
dependants?
LAILA
No.
CLERK
Has your family
status changed since the last permit?
LAILA
No.
CLERK
I need the
originals of the death certificates, both for your husband and children.
LAILA
I submitted them
last time.
CLERK
It doesn't matter,
madam. They are on the list of required documents. Do you have the list?
AUNT
(interfering)
Madam, they died
twenty years ago!
The clerk closes
the folder and gives the documents back to Laila.
CLERK
I regret but we
can't consider an incomplete file.
Laila gets up, her
lips trembling.
LAILA
Your ministry had
already received these papers twice! Why can't you attach the copies from my
previous file?
CLERK
Don't tell me how
to do my job, madam.
Laila busts out of
the hall.
AUNT
(to Laila, in Arabic)
Laila stop! Wait!
(to the clerk)
I am so sorry,
madam, we appreciate very much your help… She is upset because these papers
remind her about her loss… I am sure you understand…
The clerk slightly
softens.
CLERK
Unfortunately I
can't help. And you, Madam? I have not seen your papers...
AUNT
Oh no I don't need
anything, I am French.
Aunt gets up. A
MIDDLE-AGE UKRAINIAN WOMAN and HER TEEN-AGER SON sit down on Laila's and Aunt's
places.
EXT - PARIS,
PREFECTURE, INNER YARD AND EXIT - DAY
Laila waits by the
exit, under the questioning gazes TWO POLICEMEN patrolling the yard. Aunt appears on the threshold, opens
her umbrella.
AUNT
You've been living
here for twenty years, why don't you take citizenship? You'd have no problems
of this kind... You must find these papers, Laila. I'll go with you...
INT - PARIS,
HOSPITAL, EMERGENCY WARD, CUBICLE - DAY
An ultrasound image
of a seven-month old foetus. It moves its limbs. We can see a toe, an arm, a
profile with a turned up nose... The sensor moves, finally losing the image...
Alexandra watches with intensity.
A DOCTOR-ON-DUTY
puts a completed scan form on top of Alexandra's clothes and backpack, piled on
a chair.
Alexandra sits up
on a bed in a cubicle separated by a curtain from the rest of the ward.
DOCTOR-ON-DUTY
(as he exits, without looking at Alexandra)
Get dressed and
take your papers to the nurse.
He draws the
curtain behind him.
INT - PARIS,
HOSPITAL, EMERGENCY WARD, RECEPTION - DAY
Still in a hospital
gown, Alexandra stops by the counter with A HOSPITAL NURSE, a middle-aged
Chinese woman with a dry hostile manner. Alexandra puts the scan form on the
counter. The nurse takes it and starts filling in Alexandra's forms.
NURSE
(with an accent)
Do you have refugee
status?
ALEXANDRA
No.
NURSE
Do you have a
letter from Social Aid?
ALEXANDRA
No.
The nurse raises her
eyes from the papers and looks at Alexandra.
NURSE
Give me your
passport.
Alexandra gives the
passport. The nurse walks away, still muttering to herself.
Alexandra sees the
nurse talking to the DOCTOR-ON-DUTY. The nurse shows him Alexandra's passport.
Together they return to Alexandra. The doctor looks at Alexandra. As he speaks,
the nurse starts typing something on the computer.
DOCTOR-ON-DUTY
I'd want to keep
you here till we have the results of your tests, but as you don't have any
medical coverage there would be a fee to pay… Do you understand?
Alexandra nods.
DOCTOR-ON-DUTY
(CONT'D)
Do you have friends
or relatives who can help you?..
ALEXANDRA
No.
DOCTOR-ON-DUTY
You must go back to
Russia as soon as possible. You can't count on delivering your baby in France
if you can't pay for the hospital. Do you have a return ticket?
Alexandra is
silent.
INT - PARIS, HOSPITAL,
EMERGENCY WARD, entrance - DAY
Back in her own
clothes, Alexandra is walking towards the hospital exit. She suddenly stops and
checks her bag.
INT - PARIS, HOSPITAL,
EMERGENCY WARD, RECEPTION - DAY
Alexandra returns
to the counter. The nurse looks at her with surprise.
ALEXANDRA
I had a book with
me... I must have left it behind somewhere.
The nurse looks
around, reluctantly gets up and walks to the cubicles. Alexandra waits.
The nurse comes
back.
NURSE
I am afraid there
is nothing there.
Distraught,
Alexandra leaves.
INT - PARIS,
LAILA'S APARTEMENT, corridor - LATE AFTERNOON
Supported by Aunt,
Laila is standing on a chair, reaching to a shelf with dusty cardboard boxes.
She pulls out one of the boxes, lowers it down.
Helped by Aunt
Laila drags the box along uneven Parisian floors towards the living room.
INT - PARIS, LAILA'S
APARTEMENT, living room - LATE AFTERNOON
Laila and Aunt
leave the box by the bookshelves. In the room, there are books in French and
Arabic, an old type-writer, manuscripts and a pile of Arab newspapers on the
sofa.
Aunt moves
newspapers away and plunges on the sofa.
Laila tears off the
sealing tape and opens the box, revealing old documents and letters. She takes
out a bunch of papers and starts looking through it. Aunt takes out another
bunch of papers. She picks up an old photograph of AN IMPOSING MAN WITH
MOUSTACHE.
AUNT
Your husband was so
handsome, Laila. Why don't you frame this picture...
Unnerved, Laila
takes the picture away from her and puts it back in the box.
LAILA
It's not what we
are looking for, darling…
EXT – PARIS,
PREFECTURE – DAY
The place in front
of the entrance to the Prefecture is now empty. The barriers indicate where the
queue was earlier in the day. A new GUARD, a young man with moustache, is
sitting in the booth.
Alexandra walks
along the barrier, looking on the ground. As she approaches the booth, the
guard comes out.
GUARD
Do you have an
appointment?
ALEXANDRA
I lost my book
here.
GUARD
A book? When?
ALEXANDRA
This morning.
GUARD
Well, everything
has already been cleaned, and all rubbish gone. I am sorry, Madam.
Alexandra walks
away, disappointed.
int. PARIS, LAILA'S
APARTMENT, living room - EVENING
The time passed.
The pile of papers on the floor has increased, and the pile of papers in the
box has almost disappeared.
Laila gets up from
the floor and turns on the lights. She lifts the box and empties the rest on
the floor.
LAILA
Nothing's here!
Aunt gets up from
the sofa in frustration.
AUNT
Why can't you keep
your things in order! It's serious, they can deport you, you understand?
Now I have to call
your uncle Omar in Beirut, and beg him for help… if of course you want to stay
in France! I have to go now.
int. PARIS, LAILA'S
APARTMENT, corridor - EVENING
Laila watches Aunt
in the corridor putting on her coat.
AUNT (CONT'D)
You know what,
Laila? I worry about you!
She turns around
and disappears behind the door.
int. PARIS, LAILA'S APARTMENT,
corridor - EVENING
…Standing on a
chair, Laila brings down others three boxes. She drops them on the floor, one
by one.
int. PARIS, LAILA'S
APARTMENT, living room - EVENING
Laila takes a
sponge and wipes the dust off. She tears away the tape on a closest box and
opens it.
It has neatly
folded children clothes. Laila looks at it, her hands shaking, then closes it
again.
She abruptly gets
up, goes to the kitchen…
int. PARIS, LAILA'S
APARTMENT, kitchen - EVENING
…and opens the cold
water tap. Her hands still shaking, Laila puts a glass under the water. The
water fills it and overflows. She drops the glass and bites on her hand,
stopping a cry.
int. PARIS, LAILA'S
APARTMENT, living room - EVENING
Laila sweeps papers
off the floor and throws them in the box. She closes the box and pushes it
under the table.
She notices
Alexandra's book lying on the table.
INT. PARIS,
EMERGENCY AT HOTEL-DIEUX HOSPITAL - EVENING
The Akhmatova book
in hand, Laila knocks at the emergency reception window, closed at this time.
The NURSE-ON-DUTY
appears from the back room. She comes to the window and opens it.
LAILA
Someone was taken
to your emergency this afternoon… A pregnant Russian woman, Alexandra…
The nurse checks
the records.
NURSE
Alexandra Golubeva?
Laila nods.
NURSE (CONT'D)
Discharged.
LAILA
Is she alright?
The nurse looks
glances the file.
NURSE
She needs bed rest
for a few days… Are you a relative?…
LAILA
No. I was with her
at the Prefecture… I need to find her.
The nurse changes
the tone.
NURSE
I am sorry we can't
give you any information.
She closes the
window.
Laila walks out.
She has to step aside to give a way to a trolley with a WOMAN rushed into the
hospital by a MALE NURSE.
EXT. PARIS,
HOSPITAL - EVENING
Outside the
hospital gates Laila stops.
She looks at the
Akhmatova book, randomly leafs through it. She takes out a few folded pages and
a compliments' slip from "Russian Thought" with instructions how to
get to the Prefecture.
Laila studies the
slip, then unfolds the hand-written pages. It is a draft of a French
translation, with some words crossed out. Laila reads it.
LAILA
(to herself)
I, like a river,
have been turned aside by this harsh age. I am a substitute. My life has flowed
into another channel and I do not recognize my shores...
INT. PARIS, HOTEL,
ALEXANDRA'S ROOM – NIGHT
Alexandra is lying
on her side on top of the bed, her arms around her stomach, her eyes open.
She sits up,
reaches for a piece of paper and a pen.
She writes from
memory in attempt to restore her lost translation, crosses out and changes a
few words…
ALEXANDRA
(V.O.)
I know the beginnings and the
ends of things, and life after the end, and something it isn't necessary to
remember now
She fills a glass
with tap water, puts it by her bed and lies down again.
…The lights are off.
Alexandra is lying in bed with her eyes open, sleepless, listening to the
SOUNDS OF THE CITY.
ALEXANDRA
(V.O.)
…Oh, how many fine
signs I've missed...and how many poems I have not written, whose secret chorus
swirls around my head And possibly one day will stifle me…
EXT. PARIS, PUBLIC
LIBRARY (BEABOURG) - NIGHT
Laila walks towards
a modern building of a public library, which light is diffused by the powdery
rain.
There are PEOPLE
moving inside the library. Dark silhouettes of SECURITY GUARDS loom by the
entrance gates.
Laila enters the
building.
INT. PARIS, PUBLIC
LIBRARY (BEAUBOURG) - NIGHT (CONT)
Laila is sitting at
a desk in the library. The space is calm and silent with few people still reading and working.
Using a
Russian-French dictionary Laila transcribes Akhmatova's name from Russian to
French. She writes on a paper, reads it: 'Anna Akh-ma-to-va'...
…Laila returns to
the desk with a pile of books. There are a few translations of Akhmatova's
poems and books about her. Laila sits down, opens the first book…
…A STAFF MEMBER
approaches Laila.
STAFF
We are closing,
madam.
Reluctant, Laila
leaves the desk.
EXT. PARIS, STREETS
- NEXT DAY MORNING
Early hour. A
newspaper vendor, the familiar Korean woman, puts fresh newspapers on the
stand.
Headlines and
pictures of a suicide bombing in Turkey.
INT. PARIS, HOTEL,
LOBBY - morning
Alexandra comes
down the steps, with all her bags. The hotel owner is by the counter.
HOTEL OWNER
Going back to
Russia?
ALEXANDRA
No. I am looking
for a job… I want to ask you… do you need someone to help around here?
HOTEL OWNER
(baffled)
No, Madam, I can’t
employ anyone else here.
ALEXANDRA
In exchange for the
room?…
The owner looks at
her with some compassion.
HOTEL OWNER
No, I can’t. But…
it is possible that I know someone looking for a Polish or Russian girl to do
an urgent job for him... He'll pay well...
ALEXANDRA
What kind of job
would it be?
HOTEL OWNER
I don’t know
exactly, some papers to translate… Come back in the afternoon, I'll see if I
find him. You can leave your bags if you want.
ALEXANDRA
It's very kind of
you.
HOTEL OWNER
Well you need kind
people in your situation, don't you?
EXT. PARIS,
STREETS, kiosk - MORNING
Alexandra walks
past the newspapers kiosk. The Korean woman notices Alexandra.
KOREAN WOMAN
(with a strong accent)
Madame! I have the
newspaper you wanted!
Alexandra stops,
puzzled. She follows the woman under the plastic cover.
The woman digs out
a copy of 'Russian Thought' and holds it out to Alexandra.
Alexandra unfolds
the paper, glances… she sees VARYA'S PICTURE AND A REVIEW OF THE FILM.
Alexandra smiles. She finds the page with 'classified' and scans it looking for
her own ad…
The Korean woman
snatches the newspaper from her.
KOREAN WOMAN
(CONT'D)
Can't read. Must
buy!
Startled, Alexandra
lets go of the newspaper.
She walks away,
leaving the Korean woman with the newspaper in her hands.
EXT, PARIS,
PREFECTURE – MORNING
The Prefecture is
still closed.
A long QUEUE is
already waiting there behind the barriers. PEOPLE AT THE FRONT OF THE QUEUE have
clearly spent a long time there - some have blankets, some have folding chairs
and thermoses with hot drinks.
Alexandra looks at
the queue and instead of joining it, turns around and walks away.
int. paris, laila’s
apartment, kitchen - morning
The ‘Russian
Thought’ slip in Laila’s hand. Laila, already dressed, dials the number from
the letter-head.
V.O. BARONESS
"Russian
Thought", good morning...
LAILA
I wonder if you can
help me. I am looking for a pregnant Russian called Alexandra Golubeva. She
left behind her book and it had a paper with your phone inside, so I thought
perhaps you know how to find her…
V.O. BARONESS
Oh that poor girl… We published
her ad you know but I doubt she’ll get much response. She said she was in a
hotel, let me find the number…
Laila waits listening to muffled voices of Baroness and the Thin Woman
on the background, then the steps
of Baroness returning to the phone.
V.O. BARONESS
Do you have a pen?
laila
Yes.
V.O. BARONESS
You see we used to have
foundations which helped people arriving from Russia but in the last few years
so many came that all our foundations collapsed…
EXT - PARIS,
RUSSIAN CATHEDRAL, RUE DARU - DAY
Alexandra is in
front of a Russian Orthodox Cathedral behind a high tilted metal fence.
She walks up the stairs
to the Cathedral.
INT - PARIS,
RUSSIAN CATHEDRAL, RUE DARU - DAY
Inside is dark and
empty, just a few people quietly
waiting for the evening service. Hidden from view, a very small CHOIR warms up,
their VOICES distorted by the echo.
Right by the entrance,
an OLDER MAN is selling various candles and other paraphernalia with
pencil-written prices on pieces of paper. He turns to Alexandra who enters the
cathedral.
OLDER MAN
(in Russian)
Good day. Do you
want a candle?
ALEXANDRA
(in Russian)
No, thank you. I
have very little money left.
The man gives her a
small candle.
OLDER MAN
(in Russian)
Take it anyway...
Are you here for a visit or to stay?
ALEXANDRA
(in Russian)
To stay.
Alexandra crosses
the church towards the altar, lights her candle from another flame and puts it
in front of a dark icon of St Nicholas. She returns to the counter.
ALEXANDRA (CONT'D)
Where is the notice
board?..
OLDER MAN
It's outside.
EXT - RUSSIAN
CHURCH RUE DARU - DAY
The board is
covered with ads put by people 'looking for any job'. On the left side of the
board there is also a rain-washed list of Parisian shelters for the homeless
with explanations of what services these shelters can provide.
Alexandra removes a
couple of rusty pins, finds an empty corner and puts up her own hand-written
notice: 'Professional translations,
house help, baby-sitting. Call
"Russian Thought" post 3, leave a message for Alexandra'
She scans other
notices.
There is one ad
saying (in typed letters in French): 'looking
for a live-in companion for an old lady'. All telephone numbers on
this one are torn off.
Alexandra finds a
pen and a piece of paper in her bag and writes down the number with an
exclamation mark besides it.
Now, she moves
towards the list of shelters and starts writing down the addresses…
A RUSSIAN PRIEST
crosses the yard from the Cathedral to a two-storey building next to the notice
board. He looks at Alexandra.
PRIEST
(in Russian)
I can give you a
copy of this list if you want…
Alexandra turns around.
ALEXANDRA
(in Russian)
Thank you.
The priest punches
in the code and enters the two-storey building. Alexandra hesitantly follows
him.
int. paris, russian church
office - day
Alexandra stops at
the threshold while the priest goes further along the corridor to a small
office with a WOMAN sitting in front of an old computer.
Alexandra notices a
telephone hanging on the wall.
The priest walks
back to Alexandra with a printed list of shelters.
PRIEST
(in Russian)
You need to go
there before six, otherwise you won't get a place…
Alexandra takes the
list. She points to the telephone.
ALEXANDRA (CONT'D)
(in Russian)
Is it possible to
use your phone?
RUSSIAN PRIEST
(in Russian)
A call in Paris?
ALEXANDRA
(in Russian)
Yes.
He gestures her to
the phone.
The woman from the
office looks at Alexandra with curiosity.
Alexandra dials the
number she just wrote down.
ALEXANDRA (CONT'D)
Good morning. I am
calling regarding a live-in companion position... I can come right now if it's
convenient for you...
INT - PARIS, METRO
- DAY
Alexandra is in the
vestibule of a metro station. She stops by the cashiers and looks at the sign
with ticket prices. She checks her
pocket and her backpack for remaining change, counts it. It's not enough.
Alexandra looks
around.
A YOUNG BLACK
COUPLE going through the barrier in a tight embrace on one ticket. THE STATION
ATTENDANT doesn't seem to notice or care. Then A YOUNG EAST-EUROPEAN MAN
squeezes through the barrier behind A JAPANESE TOURIST.
Alexandra notices a
friendly-looking middle-age man in a business suit who
stopped by the barriers to find his ticket.
alexandra
Would you be so kind to let me
pass the barrier with you?
The man looks at her as if she’d
fallen from the sky.
alexandra
I have an urgent appointment
and…
man in a business suit
(interrupting,
infuriated)
You must be kidding, you!
He waves his arms and goes alone
through the barriers.
Alexandra looks around in
despair. She hesitates, but when the station attendant looks away, she prompts
herself towards a well-dressed middle-age WOMAN who is about to go through. The
woman turns to her with annoyance. However Alexandra manages to squeeze through
the barrier.
int. paris, metro, passage
- day
As Alexandra walks
turns to the passage to the platforms, she suddenly sees THREE CONTROLLERS
talking to the East-European man. One of the controllers steps towards the
middle-age woman and Alexandra.
CONTROLLER
Your tickets,
please.
The middle-aged
woman shows her ticket.
Alexandra doesn't
stop but walks passed the controllers down the stairs to the platform.
CONTROLLER (CONT'D)
Madam!
Alexandra ignores
his call.
int. paris, metro,
platforms - day
Once on the
platform, Alexandra quickly walks towards the furthest end, hiding behind
passengers waiting for the train.
The controllers
appear on the platform. Alexandra anxiously waits for the train.
As the controllers
get closer, Alexandra looks around, and not having found a better refuge,
starts going up the stairs towards the 'exit' sign.
int. paris, metro, stairs
- day
She speeds up,
covers the last stairs…
ext. paris, metro, stairs
- day
…and burst out onto
the street, just a few metres away from where she started.
Unable to run
anymore she leans heavily against a lamp post...
ext. paris, street –
day
Holding open her map of Paris
Alexandra hurriedly walks along the street.
ext. PARIS,
vegetable market - DAY
Aunt with a
shopping bag on wheels waits by the entrance to a vegetable market stretching
along a boulevard.
A street musician -
a YOUNG MAN WITH A BEARD - playing Bach on a cello. He has gloves with cut
fingers and an open newspaper with few coins in front of him.
Laila appears from
the metro entrance and quickly walks to Aunt.
AUNT
You are late as
always!…Found the papers, I hope?!
LAILA
No.
aunt
Well so I thought! I’ve spoken
to Omar, if you want to know. He promised to help.
Aunt leaves her shopping basket
behind for Laila to pick up and starts walking. Laila stops her by the arm.
laila
Darling, I won’t be able to
stay, I have something urgent I need to do.
aunt
(baffled)
At the Prefecture?
Laila hesitates.
laila
No, darling, I need to return
the book, remember, to that pregnant Russian.
aunt
But why is it exactly now?
laila
It’s a bit complicated to
explain…
aunt
(offended)
‘Complicated’?!… Well what do
you suggest I do now?!
laila
Perhaps you could start shopping
by yourself and I’ll join you later…
aunt
That’s nice of you, Laila! You
well know I can’t carry anything heavy!
Aunt grabs her basket and walks
away from Laila.
Laila breathes in, catches up
with Aunt and takes the shopping bag from her…
INT. PARIS, MULYA'S
APARTMENT - DAY
Alexandra stops by an apartment
door in an imposing Hausmannien building. She reads the name and knocks at the
door.
Slow steps are
heard behind the door, then an old voice asks.
V.O. MULYA
Who's that?
ALEXANDRA
I have an appointment
for an interview. I am sorry I am late...
There is a movement outside the
door, numerous locks being unlocked, till finally the door opens.
A very frail old
woman (MULYA) with a halo of white hair, stands on the threshold. She smiles
blindly and stretches her arms towards Alexandra.
MULYA
Who are you, my
dear?
ALEXANDRA
Alexandra.
MULYA
How lovely, it's my
mother's name... Do you speak
Russian?
ALEXANDRA
I am Russian.
Mulya finds her
hand and pulls Alexandra behind herself.
MULYA
(in Russian)
I am so glad you
are late! You'll tell me everything about yourself, before Aleshka comes
back...
INT - PARIS,
MULYA'S APARTMENT, corridor - DAY (CONT.)
Mulya pulls
Alexandra behind herself along a corridor with some old photographs framed on
the walls. Alexandra can only glance at the pictures as she walks passed.
INT - PARIS, MULYA'S
APARTMENT, kitchen - DAY (CONT.)
Following the directions of
Mulya, Alexandra sets for tea a round table in the middle of kitchen.
MULYA
(in Russian)
Take two blue cups
from the cupboard, with little shepherds, my mother's wedding present… My husband was French, he was an angel…
I am not an angel myself, I am an old crone…
Alexandra takes old
fine china cups from the cupboard and puts them on the counter. Mulya touches
them, checking that they are the correct ones. Mulya's hands slightly shake,
and the cups chime. She puts them on the table.
MULYA (CONT'D)
(in Russian)
I am alone all day
long, I have no one to talk to... Are you hungry, dear?
Mulya finds a bag
with bread and pushes it towards Alexandra.
MULYA (CONT'D)
(in Russian)
Take some cheese
from the fridge, will you?... We'll have a party, like in the old days… Me and
my sister used to have soirees, every Thursday... My sister, Dashen'ka, was the
brightest. I was useless, all I could do was to flirt and giggle... We had a
guest book... Everybody signed: Nevedomsky, Struve... Aleshka's not interested, he calls me 'mere, vous'.
Dashen'ka's almost eighty. Her husband was an Italian ambassador, God bless his
soul.
ALEXANDRA
(in Russian, interested)
Do you still have
the guest book?
MULYA
(in Russian)
Dashen'ka has it.
She wrote to me the other day... She needs someone to sort the archive before
she dies... She's a sweetheart, not nearly as crazy as I am... Wait...
Mulya digs in her
pocket and produces a slightly battered postcard with a picture of beautiful
Italian countryside.
MULYA (CONT'D)
(in Russian)
Can you read
French?
ALEXANDRA
Yes. I do
translations in fact.
MULYA
(in Russian)
Dashen'ka will be
so happy! She has a villa in the mountains near Torino, you'll like it there...
ALEXANDRA
(in Russian, puzzled)
Torino?...
…Alexandra pours the freshly made tea into two cups with
shepherds and sits down to the table across from Mulya. The apartment door opens and closes again. Heavy steps are heard in the corridor.
MULYA'S SON ALEXIS, dressed in a Franciscan monk's garment, appears in the
kitchen.
Mulya turns to him,
discontent.
MULYA
(in Russian)
Alexis, this
charming Russian lady...
ALEXIS
(to Alexandra)
For an interview?
You were late...
ALEXANDRA
I am sorry, I...
Alexandra gets up
the chair. Alexis looks at her, pausing his eyes on her stomach.
MULYA
(in Russian, to Alexis)
Will you take a cup
of tea with us?
ALEXIS
No, mother, I have
things to do.
(to Alexandra)
You did not mention
on the phone that you were pregnant, madam.
MULYA
(in Russian, to Alexis)
Pregnant?!
Surprised, Mulya
gently touches Alexandra's stomach.
MULYA (CONT'D)
(in Russian, with delight)
It's been long
since I had babies around here... Look how it kicks! Go away, he says, you, old
bones, don't touch me...
ALEXIS
(to Alexandra)
I regret you are
not what we are looking for. If you've finished your tea, I'll see you to the
door.
Alexandra puts down
her cup.
MULYA
(to Alexis)
She has not
finished her tea, and she is hungry, Alexis!
ALEXANDRA
(getting up)
Thank you, I've
finished, it doesn't matter.
MULYA
(in Russian, to Alexandra)
I am sorry,
darling…
She takes
Alexandra's hand.
int. paris, mulya’s
apartment, corridor - day
Alexandra puts on
her coat while Mulya blindly waits near-by. Alexis looms on the background.
Mulya embraces
Alexandra, forcing her to bend down. She slides Dashen'ka's postcard in
Alexandra's pocket.
MULYA (CONT'D)
(in Russian, whispering)
I'd love you to
stay, darling, but I am a useless rag now. Dashen'ka has a good heart, she’ll
help you. You'll go there, promise? She'll be so happy! Give her my love and
kiss her for me, will you?...
INT. PARIS, MULYA'S
APARTMENT STAIRS - AFTERNOON
Alexandra is on the
landing near Mulya's door, waiting for the lift. She takes out the postcard and
studies it. It has a return address - 6
via de la Montagna, Torino, Italy - and a short note written in
French in almost unreadable old handwriting, signed 'your Dashen'ka'. Alexandra puts the card in her pocket…
int. paris, railway
station – late afternoon
Alexandra is at the
‘information’ window.
alexandra
How much is a ticket to Torino?
clerk
A singe or return?
alexandra
A single.
clerk
Hundred twenty six euro. When do
you want to travel?
alexandra
I don’t know yet. Thank you.
ext. paris, vegetable
market – afternoon
Aunt and Laila emerge from the
row of market stalls – Aunt and her umbrella is in the front, Laila is
pulling the bag in the rear.
Aunt stops by a flower stall and
picks up a few flowers from one of the buckets.
aunt
I need something bright for the
house… Why don’t you take a few as well? Your place is always gloomy! You see,
Laila, flowers give joy, and who knows your mood might change as well…
Aunt studies the chosen flowers
and puts them back in the bucket.
aunt
They don’t seem to be very
fresh… Well, I’ll go home now, find me a taxi, and you can go to see your
Russian!
INT. PARIS, HOTEL
LOBBY - LATE AFTERNOON.
Alexandra walks in
the hotel lobby. The HOTEL OWNER'S WIFE, a Middle-Eastern woman in her late
fifties, is at the counter.
ALEXANDRA
I've come to pick
up my bags.
HOTEL OWNER'S WIFE
Your name?
ALEXANDRA
Alexandra.
The wife stands up,
goes behind the counter and puts out Alexandra's bags and a piece of paper.
HOTEL OWNER'S WIFE
(disapprovingly)
My husband left a
phone number for you. It's about a job you're looking for I believe.
Alexandra reads the
message: ' Mr.Quiquou, 4324 5511'.
ALEXANDRA
Can I use your
phone?…
Without a word, the
wife takes the piece of paper with the number, dials and gives the receiver to
Alexandra. As Alexandra talks on the phone, the owner's wife looks at her with
scepticism.
ALEXANDRA
(on the phone)
You left a message
for me in the hotel... Yes, I can meet... What's the name of the restaurant
again? Raouche?
She looks for a
pen, takes one from the counter under the disapproving gaze of the hotel
owner's wife, writes the name on a piece of paper.
ALEXANDRA
I'll find it, I
have a map.
She hangs up.
HOTEL OWNER'S WIFE
Do you need
anything else?
ALEXANDRA
No, thanks.
The wife drags
Alexandra's bags towards the front door, opens the door and puts the bags
outside. Alexandra follows her. The wife turns around and, without saying
goodbye, goes back inside.
EXT - PARIS, STREET
NEAR LEBANESE RESTAURANT - EVENING
INT - PARIS, HOTEL,
LOBBY - day
a young
arab man is sitting by the counter
talking on a mobile phone. He throws a quick look at Laila. Laila looks around,
noticing the peeling paint, the photos and the worn out carpet...
young arab man
(in Arabic, on the phone)
Wait, I have a client…
He covers the
speaker with his hand and looks at Laila with a silent question.
LAILA
I am looking for
madam Golubeva.
young arab man
She’s checked out.
laila
I know but she was supposed to
come to pick up her luggage.
The young man turns
to the stairs.
young arab man
(shouts in Arabic, to the hotel owner)
Mum!…
young arab man
(shouts in Arabic, to the hotel owner)
This Russian, has
she already picked her stuff?
V.O.hOTEL OWNER's
wife
(in Arabic)
Yes, why?
young arab man
(in Arabic)
There is a lady...
LAILA
(in Arabic, interrupting)
I called this
morning, I have something to return to her.
The wife appears
from the back room and looks at Laila with interest.
HOTEL OWNER's wife
(in Arabic)
She is meeting someone… for
work… at Raouche, around the corner. Perhaps you'll catch her if you go there
straight away.
EXT - PARIS, STREET
NEAR RESTAURANT rauche - day
Laila turns into a
narrow street with a few Middle-Eastern cafes. She sees a small sign 'Scheherazade' with a poster in the
window announcing 'belly dancing on
weekends'... Laila crosses the street and enters the restaurant.
int - PARIS,
RESTAURANT Scheherazade - day
The restaurant is
almost empty. Laila notices Alexandra sitting at a corner table with a smarmy man in a business suit, short and bald, (MR.QUIQUOU). Laila
looks at them, hesitating whether to approach Alexandra. Quiquou opens his
briefcase and takes out a bunch of papers.
The restaurant owner appears in front of
Laila.
RESTAURANT OWNER
(to Laila)
A table for one?...
LAILA
(in Arabic)
Yes.
He leads her to a
table, puts down the menu and leaves. Laila moves her chair so that she can see
Alexandra and Quiquou.
The waiter, a young tunisian, comes to
Laila's table.
WAITER
Something to drink
to start with?
LAILA
(in Arabic)
No I’ll just take a
plate.
WAITER
I am sorry. I don't
speak Arabic.
int - PARIS,
RESTAURANT Scheherazade - day (CONT.)
The waiter arrives
to Quiquou’s table with a plate of starters. Quiquou puts the papers on the
edge of the table to make room for food.
QUIQUOU
Russian women don't
talk much... Eat, it's good food, you won't find this in Russia.
Alexandra is
hesitant.
ALEXANDRA
I can't pay for it.
Quiquou laughs.
QUIUOU
Oh it doesn’t
matter, eat.
Alexandra
cautiously starts eating. Quiquou looks at her, smiling.
QUIQUOU
I'm a kind man, I
want to help you. We'll make an arrangement, which is beneficial for both of
us… You are pretty, I did not expect that…
He opens one of the
document folders and puts it in front of Alexandra.
QUIQUOU
Look… What you need
to do is to fill it in Russian and to write a new contract.
Alexandra glances at the papers.
QUIQUOU
Normally I have a
Russian girl who helps me but she's in Spain for two weeks. Are you free this
afternoon?
ALEXANDRA
Is it legal?...
QUIQUOU
Don’t worry, there is no risk
for you.
Alexandra looks through the papers, reads. Uneasy, she
turns to Quiquou.
ALEXANDRA
I don’t want to do
anything illegal.
QUIQUOU
Legal, illegal! You
are not a child! You need work? Here it is! I don’t ask for your documents, do
I? You'll do the job, I'll pay
cash, and that's it. If you do it well, I'll have some other work. Where’s the
problem?!
Alexandra gives the papers back
to Quiquou.
ALEXANDRA
I can’t do it.
QUIQUOU
Come on, I am
wasting my time with you.
ALEXANDRA
I am sorry.
Quiquou looks at her for a
moment.
QUIQUOU
As you wish, then.
Quiquou puts papers
back in his bag and waves to the waiter who brings the bill. Quiquou puts the
bill on the table in front of Alexandra.
QUIQUOU (CONT'D)
Your share is
eighteen.
Alexandra stops eating.
ALEXANDRA
My share of what?
QUIQUOU
Lunch! Here in
France when you go to lunch you pay for what you eat!
Alexandra looks at him in
disbelief.
QUIQUOU
Ah! Bravo! What do you hope for?
I’ve wasted time with you, and you want me pay for your lunch! Such impudence!
He waves to the waiter,
observing the effect his words make on Alexandra who is on the verge of tears.
Satisfied, he assumes a softer tone.
QUIQUOU
Well, I could have left you alone to sort it with the owner and the
police but I am a kind man. We’ll go to my office and you’ll sign a debt note
for me. Agreed?
int - PARIS,
RESTAURANT Scheherazade - day (CONT.)
Laila sees
Alexandra getting up and leaving the table. Quiquou takes Alexandra’s bags and
walks a few steps behind her towards the exit.
Laila gets up, just
as the waiter arrives to her table with food, blocking Laila’s way.
LAILA
(to the waiter)
I’m really sorry I
have to go.
Laila puts a few
banknotes on the table and makes her way to the exit.
EXT
- PARIS, near RESTAURANT scheherezade – late afternoon (cont.)
Outside, Laila sees
Quiquou throwing Alexandra’s bags in the boot of his car parked on the street
to the left. Alexandra hesitates in front of the car.
laila
Alexandra!
Alexandra turns around to the
sound of her name but Quiquou opens the passenger’s door and shoves Alexandra
inside.
The car reverses,
turning around and drives off. As it passes Laila, Alexandra’s and Laila’s eyes
meet.
The car accelerates
and turns around the corner. Worried, Laila runs after the car. Quiquou’s car
slows down in a queue of cars waiting for a traffic light.
Laila looks around.
She sees a taxi
stopping a few feet ahead, in front of a hotel. Laila runs there. A COUPLE
appears from the taxi. Laila pushes her way inside. The TAXI DRIVER, a middle-age
Korean man, turns to Laila.
laila
(to the driver)
Quick, Sir, follow that silver
car.
driver
Madam I’ll go the speed I can!
…The taxi with
Laila on board takes off after Quiquou's car.
Quiquou's car
impatiently swirls to a pavement, overtakes a few cars, then turns into an
underground parking.
INT - PARIS,
parking QUIQUOU'S CAR – late afternoon (CONT)
Quiquou stops the
car and turns off the engine. Alexandra turns towards him.
ALEXANDRA
What are you doing?
QUIQUOU
I changed my mind.
I won't harm you… Do it quickly and you can go, you are a nice girl...
He starts undoing his fly.
ALEXANDRA
Let me out!
QUIQUOU
It's too late now,
dear. Don’t make a fool of me, I’ve met Russian girls before.
The taxi with Laila
appears from around the corner, the headlights illuminating Quiquou's car.
quiquou
Shit!
Quiquou swears,
turns the engine on and angrily drives away just as the taxi almost approaches
his car...
EXT/int. PARIS,
STREETS, quiquou’s car - evening (CONT)
As Quiquou's car
turns on a boulevard joining the traffic towards Gare de l’Est, Alexandra
manages to open the window.
ALEXANDRA
(cries)
Help me please!
A PASSER-BY looks
at her with puzzlement but slows his steps and leans forward trying to discern
what's happening inside the car.
quiquou
Shut up!
Quiquou turns
towards the station. He briskly stops. Without turning off the engine he gets
out of the car and throws Alexandra's bags on the ground.
Alexandra scrambles
out. Quiquou gets back in, slams his door and drives off.
PEOPLE at the
entrance indifferently observe Alexandra.
Alexandra stays,
shocked, with her bags on the ground.
EXT/int. PARIS,
STREETS, taxi – late afternoon (CONT)
As the taxi passes
near the station, Laila sees Alexandra, who is slowly walking towards the
station.
laila
(to the driver)
Stop here please!
driver
I can’t stop here,
madam! It’s forbidden.
laila
Please!
driver
(adamant)
Let me do my job, madam!
The taxi turns into an adjacent
street, makes a circle and arrives to the station from an opposite corner.
driver
Here we are.
Laila gets out, but Alexandra
has already disappeared.
INT. PARIS, GARE DE
L'EST, HALL – late afternoon
Alexandra walks
into the station hall. She looks around. She sees a toilet sign and walks
there.
INT- PARIS, GARE DE
L'EST, LADIES TOILETS – EVENING (CONT)
Alexandra opens one
of the cubicles, puts down the lid, drops her bag and tumbles down, her hands
trembling.
As she calms down
the SOUNDS FROM OUTSIDE start coming into her cubicle: VOICES OF TWO WOMEN
discussing their lipstick… VOICE OF A MOTHER WAITING FOR HER DAUGHTER… THE
ANNOUNCEMENT ABOUT AN ARRIVAL OF A TRAIN FROM MANNHEIM…
INT - PARIS, GARE
DE L'EST, HALL - EVENING
Laila walks into
the station hall. A few HOMELESS people, huddle in the recesses. A BLACK MAN
moves around in circles talking loudly to himself. Laila walks faster.
Two ticket counters
are still open and a FEW PEOPLE lining in front of them in two short queues.
Laila looks around
and walks across the big foyer with the electronic board announcing departures
and arrivals…
EXT - PARIS, GARE
DE L'EST, PLATFORMS - EVENING
Laila walks along
the platforms.
She notices a
POLICEMAN a few metres away checking the documents of an oddly-dressed
East-European COUPLE and goes inside the station again.
INT- PARIS, GARE DE
L'EST, LADIES TOILETS – EVENING (CONT)
Alexandra gets up
from the seat, takes her bags and leaves the cubicle.
She stops by the
sinks and slowly washes her face.
INT- GARE DE L'EST,
HALL NEAR TOILETS - EVENING (CONT)
Alexandra comes out
of the toilet. The TOILET ATTENDANT, a pointy woman with a working-class
accent, sits by the entrance guarding a plate with coins.
Alexandra passes
her without noticing the plate, accidentally brushing her with a one of the
bags.
ALEXANDRA
I'm sorry.
TOILET ATTENDANT
Thirty cents.
ALEXANDRA
What?
TOILET ATTENDANT
You used the
toilet. Thirty cents.
ALEXANDRA
I don't have money.
The toilet lady is
outraged. She gets off her chair and grabs Alexandra's sleeve.
TOILET ATTENDANT
(shouts with a heavy working-class accent.)
They come and want
to shit for free! It's not a station anymore, it's a shitty kip!...
She pulls
Alexandra's sleeve.
TOILET ATTENDANT
(CONT) (CONT'D)
I'll call the cops.
But attracted by
the noise, TWO POLICEMAN are already making their way through the crowd.
INT - GARE DE
L'EST, HALL - EVENING
Back in the main
lobby Laila notices movements near the entrance to the toilets and turns there
to check.
She sees two
policemen and Alexandra and dashes towards the group. As she arrives there, one
of the policemen is checking Alexandra's passport.
LAILA
(to the policemen, interrupting)
Excuse me… This
lady is with me. We missed each other…
Alexandra looks at her with
surprise.
POLICEMAN ONE
She seems to have
broken something…
TOILET ATTENDANT
(interrupting)
Nothing's broken
but I can't work for free! She...
LAILA
(stopping her)
Madame, I am sorry
for the trouble. I'm sure she meant nothing wrong.
She takes out some
change and gives it to the toilet-lady who, still muttering, returns to her
chair.
TOILET ATTENDANT
(muttering)
'Sorry for the trouble'!
They are all the same gang, the thieves!
POLICEMAN TWO turns
to Laila with suspicion.
POLICEMAN TWO
Do you live in
Paris? Can I see your ID and proof of residence?
Taken aback Laila
opens her purse and looks through it. Her hands are shaking. Torn open
envelopes with bills… her credit card… and finally, her Lebanese passport… The
policeman checks the passport, then passes it to his colleague.
POLICEMAN ONE
Your resident visa
expires at the end of the month. Have you applied for a renewal?
LAILA
Yes.
POLICEMAN ONE
Can I see your
letter of reference?
LAILA
I must have left it
at home... But my visa is still valid, isn't it?
Reluctantly, the
policeman returns the documents.
LAILA (CONT'D)
Thank you, Sir.
She tucks the
papers back into her purse, takes Alexandra's bag and pulls Alexandra away.
EXT - PARIS, GARE
DE L'EST, PLATFORMS - EVENING (CONT)
Outside, near the
platforms, Laila and Alexandra stop. Laila puts Alexandra's bag on the ground.
Her hands are still shaking, but she smiles to Alexandra, who is on the verge
of tears.
LAILA
For a moment I
thought they would arrest both of us…
I left you a message at the hotel. I have your book…
Laila takes the book out of her
purse and gives it to Alexandra. Alexandra clenches it, finds the notes and
looks gratefully at Laila.
LAILA
I found your notes.
I read them... I am sorry I know I should not have done it but I was looking
for information to contact you… I knew nothing of Akhmatova before… Do you say
‘Ac-ma-to’va’?
alexandra
(correcting)
Akhmatova.
laila
(repeats)
Ah… Akhmatova…
ALEXANDRA
I'd almost finished
the whole book before I came to Paris.
ONE LATE PASSENGER,
a man in a hat, runs to the train but is stopped by a STATION ATTENDANT and now
watches desperately the train slowly pulling out.
Alexandra picks up her bag.
ALEXANDRA (CONT'D)
Thank you. I must
go. I need to be at a shelter before six, otherwise I won't have a place for
tonight…
LAILA
I live not far from
here, you can stay with me overnight.
Alexandra looks at
her, hesitating.
LAILA (CONT'D)
You'll have a good
night sleep and tomorrow we'll talk about what you can do next… Wait, you're still shivering…
Laila takes off her
shawl and wraps it around Alexandra, as she has already done once, near the
Prefecture.
INT- PARIS, LAILA'S
APARTMENT, corridor - EVENING
Laila opens the
door letting Alexandra into the apartment. Alexandra takes off her coat and
Laila’s shawl and steps into Laila’s living room, cluttered, with the open
cardboard boxes with documents.
LAILA
It's a mess, I live
alone...
Laila moves
newspapers away from the sofa, making a place for Alexandra to sit down.
Alexandra looks around. She notices a picture on the floor by the sofa. She
picks it up.
It is a photo of two children. The youngest, a boy in a checked shirt, is smiling
happily, while the girl is
looking seriously into the camera. Alexandra gives the picture to Laila.
ALEXANDRA
Are they yours?...
Laila takes it
carefully.
LAILA
Nidal… the little
one is Karim...
ALEXANDRA
Do they live in
France as well?
LAILA
No. They don't live
anymore.
Alexandra looks at
Laila, not understanding.
LAILA (CONT'D)
They were killed in
Beirut, twenty years ago. I don’t
have children.
Laila carefully puts the picture
in the box and lingers for a moment, pulling herself together.
Then she turns to Alexandra, who
is looking at her with eyes wide open. Laila gently puts her hand on
Alexandra's stomach.
LAILA (CONT'D)
This little person
must be hungry! Would you like to take a shower while I make dinner?
Alexandra nods.
INT - PARIS,
LAILA'S APARTMENT, KITCHEN - EVENING (CONT)
Laila washes
vegetables. She turns off the water and listens for a moment to the SOUND OF
THE SHOWER. She smiles.
…Laila is
frantically cooking: she throws something in boiling water
…turns around
something in a frying pan
…chops vegetables...
…Laila switches off
the frying pan. She puts big old plates with Arabic ornaments on the table.
LAILA
Dinner's ready!
Alexandra!
There is no answer.
Laila wipes her hands and walks out of the kitchen.
INT - PARIS, LAILA'S
APARTMENT, living room - EVENING (CONT)
Alexandra, wrapped
in one of Laila's dressing gowns, is asleep on the sofa, the open Akhmatova
book in her hand.
Laila carefully
removes the book, lowers the lights and covers Alexandra with a blanket. She
stops and for a few instants watches Alexandra's calm and clear face… Then she
tiptoes out of the room closing the door.
INT - PARIS, LAILA'S
APARTMENT, corridor - EVENING (CONT)
…The DOORBELL
rings. Laila dashes to open.
Triumphant, Aunt
steps in, waving an envelope.
AUNT
Your certificates!...
(with great surprise)
Oh, that smells
nice, Laila! Did you cook something?
Laila puts a finger
to her lips.
LAILA
Hush!
Aunt looks at her,
perplexed.
LAILA (CONT'D)
(whispers)
She's asleep.
AUNT
Who's asleep?
Laila hushes again
and gestures Aunt to follow her. They stop by the door to the living room.
Laila points quietly to the half-closed door. Aunt looks through the crack.
AUNT (CONT'D)
(profoundly puzzled)
Who's that, Laila?
Laila closes the
door.
LAILA
(whispering)
I'll explain all in
the kitchen.
INT - PARIS,
LAILA'S APARTMENT, KITCHEN - NIGHT
Aunt is sitting at
the table, a plate with food in front of her. But Aunt hardly looks at it.
AUNT
(in Arabic)
I don't want you to
be deported because you help illegal immigrants!
LAILA
(in Arabic)
Please eat or it'll
be cold. Do you like it?
AUNT
(in Arabic, ignoring)
Where's her
husband?
LAILA
(in Arabic)
She doesn't have
one.
INT - PARIS,
LAILA'S APARTMENT, LIVING ROOM - NIGHT
Alexandra is woken
up. She lies with her eyes opened listening to the VOICES coming into the room
through an illuminated crack in the door...
INT - PARIS,
LAILA'S APARTMENT, KITCHEN - NIGHT
AUNT
(in Arabic, full voice)
Who is she? I can't
understand how a woman can find herself pregnant, alone, with no means and in a
foreign country! I absolutely object to her staying with you, Laila.
LAILA
(in Arabic, whispering)
Please, darling,
you'll wake her up... Eat.
Automatically Aunt picks up a
piece and chews it. She looks surprised and picks up another bit.
aunt
(in Arabic, chewing)
I always knew you could cook, if
only you did it more often!
Alexandra, still in
Laila's gown, appears in the threshold.
LAILA
(gently, to Alexandra)
I am sorry we woke
you up… Alexandra, this is my aunt... Darling, this is Alexandra.
Aunt turns around and
smiles sweetly to Alexandra.
AUNT
We Lebanese always
speak too loud! Laila told me so much about you…
LAILA
(to Alexandra)
Have something to
eat and then I'll make you a proper bed.
AUNT
I'll also stay here
tonight, Laila if you don't mind, I am too tired to go home. You can put me on
the couch in the library if you want.
Laila looks at Aunt with
suspicion but doesn’t say anything.
INT- PARIS, LAILA'S
APARTMENT - NIGHT
Late night, or,
perhaps, already early morning.
The familiar box
with pictures and documents is open. Laila is at the kitchen table, looking at
the pictures.
We see Laila, her husband, children, other people...
She puts photos
aside, gets up.
She walks to the
living room door and listens. The light coming from the corridor, reveals the
Akhmatova book lying open on the floor by the bed. Alexandra seems to be
asleep.
Laila tiptoes into
the room…
int. paris, laila’s
apartment, bathroom - night
Laila places the
box with children’s clothes on top of the washing machine, opens it. She
briefly looks at the clothes and starts putting them in the washing machine…
…Freshly washed,
beautiful baby pyjamas and a blanket are drying on a line in the bathroom.
…Laila is at the
ironing board, ironing, folding, putting clothes in a pile…
INT - PARIS,
LAILA'S APARTMENT - EARLY MORNING
Laila puts on her
shawl and quietly slips out of the apartment, gently closing the door behind
herself...
INT- PARIS, LAILA'S
APARTMENT, LIVING ROOM - MORNING
Alexandra opens her
eyes. She looks around, recalling where she is. There are loud SOUNDS OF A
COFFEE MACHINE and RADIO coming from the kitchen.
Besides her bed,
there is a pile of freshly ironed and neatly folded baby shirts and pyjamas…
Alexandra looks at
them, delighted.
INT- PARIS, LAILA'S
APARTMENT, KITCHEN - MORNING
Wearing Laila's
dressing gown Alexandra enters the kitchen.
Aunt is already up
and is struggling with Laila's coffee machine. The machine makes SOUNDS but no
coffee appears. The RADIO cheerfully DISCUSSES TRAFFIC SITUATION AROUND PARIS.
Aunt turns to Alexandra.
AUNT
I hope I did not
wake you up?…
ALEXANDRA
No, it's fine…
where’s Laila?
Aunt waves her
hand.
AUNT
She'll be back… Sit
down, please.
Aunt moves a chair
towards Alexandra. Alexandra sits down. Pigeons noisily take off outside the
window. Alexandra smiles.
AUNT (CONT'D)
Laila has not told
you about her problems, has she?…
Alexandra turns to
Aunt, baffled.
AUNT (CONT'D)
She has a warm
heart but she first acts and then thinks. She lost her children in the war, I
don't know if she told you that, and she’s never quite recovered.
Aunt makes a gesture indicating
that she thinks Laila is not quite in her mind.
aunt (CONT'D)
Now she has
problems with her visa! She might be deported back to Lebanon!... If you care
about her, you won’t stay here. You look like an intelligent girl, I am sure
you understand…
Alexandra doesn't
say anything.
AUNT (CONT'D)
We are happy to
lend you some money, if you need, of course…
Alexandra gets up
the chair.
AUNT (CONT'D)
Would you like a
coffee or something to eat before you go?
ALEXANDRA
I can't have
coffee.
AUNT
Oh, a little cup
will do no harm…
As if agreeing with
Aunt, the coffee machine suddenly emits a stream of hot brown liquid…
INT- PARIS, LAILA'S
APARTMENT, LIVING ROOM - MORNING
Alexandra folds her
bedding. She hesitates looking at the pile of baby clothes, then packs them in
her bag.
She looks at the
room. It is as it was before she came, except… she picks up newspapers from the
floor and puts them on their old place of the sofa!
Alexandra pulls a
clean piece of paper from the type-writer, sits down by the drawing table and
writes something…
V.O.ALEXANDRA
(in Russian)
The souls of those
I love are on high stars. How good that there is no one left to lose and one
can weep. This place's air is made to repeat songs. By the riverbank the silver
willow touches the bright September waters…
EXT. PARIS, bridge
st.michel - morning
Alexandra walks across the
Seine, whose waters are swollen and dark – Alexandra, a fragile
silhouette under enormous grey skies, in danger, it seems, being swept away by
the powerful current of the river…
EXT. PARIS, LA
PENSEE RUSSE - morning
Alexandra crosses
the yard towards a door with a sign 'La PensÈe Russe, 1re Ètage'.
Kashtanka is sitting by the door. She cheerfully barks at Alexandra and her
bags.
Alexandra stops and
pats the dog.
INT - PARIS, LA
PENSEE RUSSE - morning
As Alexandra walks
up the stairs, Ostroguin passes her on his way down, the camera bag on his
shoulder.
Alexandra stops by
the door and tries to open it - it's locked. She rings the bell.
Ostroguin stops and
observes Alexandra from the landing lower.
OSTROGUIN
(in Russian)
Dear girl, the
office is still closed.
Alexandra turns to
him. Ostroguin looks at her bags.
OSTROGUIN (CONT.)
(in Russian)
Are you in need of
a place to stay?
Alexandra shakes
her head. She puts her bags down and lowers herself on the steps. Ostroguin
runs towards her.
OSTROGUIN
(in Russian)
Are you well?
Alexandra looks up
at Ostroguin.
ALEXANDRA
(in Russian)
If I have my baby
in Italy, would I have to pay for the hospital?
Ostroguin is
puzzled by the question.
OSTROGUIN
(in Russian)
I don't know... I have an
Italian friend, I can call him if you give me a minute?..
INT - PARIS,
LAILA'S APARTMENT - MORNING
Laila, with her
hands full of shopping bags and a bunch
of bright flowers, enters the apartment.
She pauses,
listening to the sound of the shower and smiles.
INT - PARIS,
LAILA'S APARTMENT, KITCHEN - MORNING
Laila takes out
fruits and croissants.
She reaches for a
vase, rinses it and fills with water. She unwraps the flowers and starts
cutting the ends of the flowers stems…
Aunt, wearing in
Laila's dressing gown, appears in the kitchen. Her hair is wet, and she has a
relaxed expression.
aunt
Where have you been?
LAILA
The Prefecture,
everything’s fine… Is Alexandra up?
AUNT
She's gone.
LAILA
What?!
AUNT
She did not want to
cause any inconvenience… I offered her money, from both of us of course, but
she refused. She was not so badly mannered after all!
Laila storms out of
the kitchen. Aunt follows her.
int. paris, laila’s
apartment, corridor - morning
Laila opens the
door to the living room as if hoping that she'll find Alexandra there, still
asleep on the sofa... The room is empty.
AUNT
(conciliatory)
It's better like
this, Laila. She is perfectly capable of surviving without you.
Distraught, Laila
goes back into the kitchen. Aunt follows.
int. paris, laila’s
apartment, kitchen - morning
Laila looks at the
kitchen table, served for a festive breakfast, the flowers in the sink, the
running water. Aunt turns off the tab.
AUNT
She left a note for
you, by the way. I don't understand a word! She was a bit bizarre, don't you
agree?
She leaves the
kitchen and comes back with the note, which she puts on the table in front of
Laila.
Laila takes it and
reads.
V.O.LAILA
The souls of those…
The souls of those I love are on high stars. How good that there is no one left
to lose and one can weep. This place's air is made to repeat songs… To repeat
songs…
Laila raises her
eyes from the paper and looks at Aunt.
AUNT
She said she had a
place to go to. I'll have breakfast, if you don't mind…
Laila doesn’t say
anything. She takes flowers out of the sink and puts them in a vase, grabs her
shawl and purse and storms out.
ext. paris, streets,
newskiosk one – day
In the newspapers kiosk Laila
looks through the display. A VENDOR, a middle-age Frenchman, serves ANOTHER
CUSTOMER, then turns to Laila.
vendor
Can I help you?
laila
Do you have a newspaper called
‘Russian Thought’?
He shakes his head.
ext. paris, streets,
newskiosk two – day
The VENDOR, a woman with a
cigarette, rearranges newspapers on one of the stands.
laila
‘Russian Thought’? No?
ext. paris, streets,
newskiosk three – day
A VENDOR and HIS FRIEND look at
Laila with curiosity.
laila
It’s a Russian newspaper…
EXT - PARIS, THE
RUSSIAN THOUGHT - DAY
With a ‘Russian
Thought’ in hand, Laila crosses the yard towards a door with a sign "Russian Thought", 1st
floor'.
INT - PARIS, OFFICE
OF "RUSSIAN THOUGHT" -
DAY (CONT.)
As Laila walks up
the stairs, Ostroguin dashes passed her, followed by Kashtanka, entering the
office of "Russian
Thought". Laila follows him.
Baroness and the
skinny woman are sorting out papers on baroness' desk.
OSTROGUIN
(to Baroness, in Russian)
Left behind my
camera, but have no idea where!
Baroness points to
a black box by the palm tree.
BARONESS
(in Russian)
We found it on the
stairs.
As he picks up the
box, Kashtanka barks at Laila who stops by the entrance.
LAILA
Excuse me, I am
looking for Alexandra, the pregnant Russian. I called you the other day…
baroness
Alexandra?
OSTROGUIN
Pregnant? There was one who came
here. I put her on the train…
(to Baroness)
…that's why I am
late…
(to Laila)
…to Torino…
(to Baroness)
Countess Greneff
sent her to her sister to help with archives…
BARONESS
(in Russian)
What are you
talking about, Leonid! Her sister's dead. She died almost a year ago.
OSTROGUIN
(in Russian, dismayed)
Mulya gave her an
address, you see… she said it was a villa!...
Laila looks at
them, concerned, not quite understanding what's going on.
BARONESS
(in Russian)
Mulya is not quite
in her right mind, Lenya. It's an
old people's home…
(to Laila, in French)
I only hope she has
some money to take a train back to Paris….
EXT - PARIS GARE DE
LYON - DAY
Laila stops under
the electronic timetable to check the departures. She walks to a telephone
booth. She searches her pockets for a telephone card, finds one and puts it in
the machine. She dials a number. Her own voice recorded on a machine answers
the call.
V.O. Laila
Hello, leave your message and
I’ll return your call…
laila
I hope you had a nice breakfast.
I am leaving for Torino, this very moment…
V.O. AUNT
(who picks up the phone
and interrupts Laila)
Torino!! WHY are
you going to Torino?? Come back home, we'll talk.
LAILA
I must go, darling,
my train is leaving in five minutes. We’ll talk when I am back, I promise.
Laila hangs up.
INT- TORINO TRAIN
STATION hall - NIGHT
Two ITALIAN
POLICEMEN walk through the station randomly checking passports of the
PASSENGERS.
They stop by
Alexandra who is standing in the middle of the hall, with Mulya's postcard in
hand.
ITALIAN POLICEMAN
ONE
(in Italian)
Do you need help?
Alexandra shakes
her head.
ALEXANDRA
No thank you.
ITALIAN POLICEMAN
TWO
(in limited French)
Have you just
arrived? Can we see your passport?
Alexandra gives her
passport, with the train ticket inside.
ITALIAN POLICEMAN
TWO (CONT'D)
Where are you
staying while in Italy?
ALEXANDRA
I have a friend.
ITALIAN POLICEMAN
ONE
A boyfriend?
ALEXANDRA
An old lady.
ITALIAN POLICEMAN
ONE
Do you have her
address?
Alexandra gives him
the postcard. The officer studies it, then gives to his colleague.
ITALIAN POLICEMAN
TWO
You have to come
with us.
He takes
Alexandra's bag.
INT - ITALIAN
POLICE STAION - DAY
Alexandra is
sitting on a chair in the brightly lit police station.
Behind the counter,
four POLICEMEN (MARIO, OLDER POLICEMAN, MARCO and LUIGI) vigorously debate
while waving her passport and the postcard.
The older policeman
glances at Alexandra, who is sitting still, looking frightened and tired.
The policeman halts
the discussion. He leaves the counter and walks to Alexandra.
OLDER POLICEMAN
(in Italian)
Do you want
something to eat?
He makes a gesture
explaining what he is asking about. Alexandra nods.
…Mario makes a
place on one of the desks, putting away papers and files. Luigi puts there a
big plate of pasta and makes a sign to Alexandra.
She starts eating.
Luigi disappears.
The older policeman and Marco return behind the counter. The older policeman
dials a number, Alexandra's open passport in his hand…
Mario brings a
chair and installs himself near Alexandra.
MARIO
(in Italian)
Where are you
coming from? Latvia? Moldavia?
Alexandra shakes
her head.
MARIO (CONT'D)
(in Italian)
Such a pretty girl
and alone! I am alone as well. I am from Sicily. My name is Mario. Have you
been to Sicily? It's very beautiful there, and people are kind. They love
children. I don't have children but my cousin has three…
He shows with his
hand the distance from the floor indicating how tall each child is.
MARIO (CONT'D)
(in Italian)
People in Sicily
like singing. I like singing, too. When I finish my military service…
The older policeman
comes out of the office, still holding Alexandra's passport.
OLDER POLICEMAN
(in Italian)
Cut it out, Mario!
(to Alexandra)
Don't listen to
him. He'll break your heart... Finished eating?
INT/EXT - MOTORWAY,
ITALIAN POLICE CAR - MORNING
Marco, a policeman
with grim expression, is driving the car.
Alexandra is at the
back. She looks at the disappearing motorway signs with names of Italian
cities…
ALEXANDRA
Where are we going?
The policeman
doesn't answer.
EXT - TORINO,
STREETS - LATE MORNING
The police car
passes along a dull grey fence, behind which lies a Roman ruin. The wall ends,
and a marketplace opens behind the ruin. Along the perimeter of the market are
piles of discarded cardboard boxes, rotten vegetables and groups of YOUNG MEN,
nervously watching the passing police car.
The police car with
Alexandra turns away from the market into a narrow street and stops by a gate
without any sign, a CCTV camera above it.
The gate opens. The
car crawls into the small yard of a grey four-storey building. It stops. The
policeman takes Alexandra's bags and gestures Alexandra to get out.
The front door is
locked. The policeman rings the intercom panel on the side. The intercom buzzes
back and the door unlocks.
INT - TORINO,
CENTRO ACCULIENZA AMBROZIANO - DAY
Prompted by the
policeman, Alexandra enters the building.
The corridor has a
high vaulted ceiling. It's empty but DISTANT VOICES suggest that there are other
people in the building. There are three cards attached to the notice board
announcing the birth of a boy (blue) and two girls (pink).
The policeman puts
down Alexandra's bags and takes out her papers.
TWO NUNS (BIANCA
and BERNADETTA) in white and grey dresses appear from around the corner. They
look alike except that one (BIANCA) has glasses.
BERNADETTA takes
Alexandra's bags and gestures to Alexandra to follow her. Bianca remains with the policeman.
Int. – torino,
centro acculienza ambroziano, corridor - day
Following the nun,
Alexandra crosses a sitting area with a television and a few deep armchairs. A
bucket and a mop has been abandoned the middle of the area.
At the end of the
corridor a colourfully dressed pregnant WOMAN FROM THE IVORY COAST speaks on
the phone, yelling, gesturing, thrusting coins into the slot. She violently
hangs up.
Gesticulating in
the air and talking to herself in profound indignation, she walks away from the
phone. Bernadetta stops her.
BERNADETTA
(in Italian)
You have not finished
the floor... This is Alexandra. She is new.
The woman neither
changes her mood nor stops. She nods to Alexandra, picks up the mop, splashes
water on the floor and starts to swab it mercilessly…
Int. – torino,
centro acculienza ambroziano, alexandra’s room - day
Bernadetta and
Alexandra enter a small room with a window looking out onto a backyard enclosed
by other buildings. The room has a neatly made bed and a baby's cot.
BERNADETTA (CONT'D)
(in Italian)
Change, wash and
come - it's lunch time.
Bernadetta leaves.
Alexandra takes off
her coat and sits down on the bed.
Alexandra hears
BERNADETTA'S VOICE as she moves along the corridor clanging a loud bell in her hand, knocking at the doors, calling up the inhabitants.
V.O. BERNADETTA
(in Italian)
Lunch, Mileva!...
Lunch, Kadisha...Lunch, Maria! Lunch, Iolanda!
There are STEPS and
VOICES OF WOMEN in the corridor, following Bernadetta.
Alexandra looks
outside at the distant roofs and church spires blurred in golden trembling
air... an abandoned-looking garden and a dilapidated fountain in the centre of
the yard... laundry swaying under gusts of wind...
She is very tired.
She hears 'Lunch, Alexandra!'
from behind the door but cannot answer, and just curls up on the bed.
Bernadetta knocks
at the door and enters. She sees Alexandra lying on the bed and shouts into the
corridor:
BERNADETTA
(in Italian)
Quickly, we need a
doctor!
EXT - TORINO,
STATION - AFTERNOON
In the crowd of
other passengers Laila walks along the platform towards the Torino station.
int - TORINO, STATION -
AFTERNOON
Laila crosses the
big gloomy hall of the station.
EXT - TORINO,
STATION -AFTERNOON
A plaza in front of
the station: a few taxis waiting for passengers; a busy street with trams…
Across the street -
Piazza di Roma: the grandeur of a baroque arcade on the sides, a park with a
fountain in the middle.
Crowds
of homeless people and immigrants swamp the fountain, some
sleeping on the grass, some talking in groups...
Laila hails a taxi.
EXT - TORINO, OLD
FOLKS HOME - AFTERNOON
The taxi drives up
a narrow street.
A street sign says
'via de la Montagna'.
The street ends at
the top of the hill, beside big cast-iron gates with a code lock and a ring
button. The number '6' is on the gate and a sign says 'Pallazzo dalla
Principessa Savoya'.
Laila gets out. The
taxi leaves.
Laila rings at the
gate. Behind the gate is an imposing yellow building with garden grounds in
front of it.
A PODGY WOMAN WITH
SHORT HAIR comes out of the building and walks towards the gates. She is
dressed in an overcoat on top of a white nurse's uniform. The woman presses the
button and passes through the gates, which slowly closes behind her. She walks past Laila without paying any
attention.
LAILA
Can I go in?
The woman turns
around and looks at Laila with puzzlement.
LAILA (CONT'D)
I am looking for a
young woman... Pregnant... With a couple of bags... She would have come here
last night...
She gestures to
explain what she means. The woman shrugs her shoulders.
PODGY WOMAN
(in Italian)
It's all just a
front, no security, anyone who wants can come in..
She suddenly
becomes very angry and talkative.
PODGY WOMAN
(CONT'D)
(in Italian)
Everywhere it's
like this. Our government has no discipline, just an appearance. They let all
these immigrants come here to steal our jobs and to kill us with their bombs!
She waves her hand
and pushes the gate open.
Further down in the
garden a WOMAN is pushing a wheelchair with a CROUCHING FIGURE.
TWO VERY OLD WOMEN
trod, supporting each other, along an alley which opens onto a terrace with a
beautiful view of the mountains.
A few old apple
trees and a low rock fence mark the border of the terrace. A few white plastic
chairs are scattered around. Two people on wheelchairs, a VERY OLD MAN and A
VERY OLD WOMAN, sit under an apple tree, facing the mountains.
Laila looks around
as if she hopes to find some trace of Alexandra, if not Alexandra herself. But
she is nowhere to be seen.
EXT - TORINO,
MONASTERY OF CAPUCHINS - AFTERNOON
An old monastery
not far from the old people's home: a small church, and a two-storey building
facing a paved yard.
A sign on the wall
in Italian, Rumanian and Serbian: 'Bread
is handed out between 5pm and 6pm to those in need only. Please don't throw
wrapping in the yard.'
Under the sign
there is a quickly moving subdued queue of people, MOSTLY WHITE MEN, receiving
free bread from an older bearded MONK IN A BROWN GOWN.
Laila watches the
queue. Nobody eats there: having taken their share, the men put bread in their
pockets or plastic bags and hurry away. SOME glance at Laila with hostility and
suspicion.
As the LAST MAN in
the queue gets his allowance and walks away, Laila approaches the monk, who
turns to her with a questioning smile.
LAILA
Do you speak
French?
MONK
A little.
As they talk, the
monk calmly cleans the leftovers of bread. His French is correct and
old-fashioned.
LAILA
I am looking for a
young Russian woman. She is pregnant and doesn't have a place to stay, and I
thought, perhaps...
MONK
I haven't seen any
pregnant women here.
LAILA
Are there other
places like this that hand out food?
MONK
A couple... but the
people who come, they tend to... group together, if you like. Here we have
East-Europeans. In the Franciscans' they have mostly Africans. There is also
food at St.Paolo's church but only Arabs come there... There are a few women
shelters. You might want to try those...
A fiery-looking
mud-coloured cat appears on the threshold. The monk pats it gently.
MONK (CONT'D)
Just a moment.
He leaves Laila and
the meowing cat on the threshold and disappears in the corridor.
A heavily breathing
COUPLE in their forties dressed in cheap new clothes and trainers, appear at
the door. They look at Laila with apprehension.
WOMAN
(turning to the man, in Bulgarian)
It's over now! I
told you we would be late!
MAN
(in Bulgarian)
As if you really
need it. It's cheaper to go to a supermarket than to climb up this hill every
day.
WOMAN
(in Bulgarian, whispering)
Don't talk here,
Stanislav.
They glance
suspiciously at Laila.
The monk re-appears
from the corridor carrying a bowl with milk and a piece of paper. The couple
immediately starts smiling.
WOMAN (CONT'D)
(in a sort of Italian)
I'm so sorry we are
late...
The monk puts the
bowl down for the cat, gives Laila the paper and gives the couple their bread.
The couple swiftly disappears.
Laila looks at the
paper.
MONK
(to Laila)
This is a list of
shelters. There is one, which is specially for pregnant women...
EXT - TORINO,
MARKET PLACE - DAY
A taxi with Laila
passes the city market with suspicious figures lingering around its margins.
Around the corner,
there is a queue of battered cars and a small gathering of shabbily dressed men
- these are 'cabbies', the illegal taxis of Torino. A normal taxi, Laila's,
looks out of place here...
EXT - TORINO,
CENTRO ACCULIENZA AMBROZIANO - DAY
The taxi turns into
a narrow deserted street and stops. Laila gets out.
As the taxi leaves,
Laila walks along the street, looking for a sign but there is none.
She checks the
address and stops by a large closed gate with a door in it under a CCTV camera.
Laila tries the gate - it's locked. She pushes the button, but the door and the
gate remain locked.
Laila looks around
and sees another gate a few metres to the left up the street. She walks there.
She finds herself
in an inner passage paved with old stones, echoing her steps. As she turns the
corner, she sees a small yard. Further to her right, at the far side of the
yard, is a half-destroyed brick fence. A wheelbarrow with bricks and building
tools has been abandoned beside it. Laila looks around: there is nobody there.
Laila climbs over the fence.
Another paved
passage leads her to an overgrown garden with some dilapidated sculptures and a
fountain in the middle of it. Two PREGNANT WOMEN, one black and one Asian, are
sitting on a bench. They look at Laila without curiosity and turn away.
ANOTHER PREGNANT
WOMAN in the second floor window puts washing on a line, which stretches across
the yard from one side of the building to the other.
A WOMAN WITH A
SMALL BABY in her arms crosses the yard and disappears behind a glass door.
Laila follows her.
INT - TORINO,
CENTRO ACCULIENZA AMBROZIANO, eNtrance - DAY (CONT.)
Laila enters the
building. The woman with the baby has disappeared. Laila sees a staircase
leading to the upper floor and goes up.
INT - TORINO, CENTRO ACCULIENZA
AMBROZIANO, corridor - DAY (CONT.)
Laila passes by the
pink and blue cards attached to the notice board, and turns into a long
corridor with windows along one side and doors along another. Its shining
marble floor reflects the light coming from outside.
Laila walks along
the corridor.
In a room with a
half-open door a PhilippinO woman
is changing her baby's nappy.
Somebody's hurrying steps are heard behind Laila.
She turns around.
A NUN (Bernadetta)
runs along the corridor towards her.
BERNADETTA
(in Italian, loud)
It's forbidden!
Laila waits till
Bernadetta is closer.
LAILA
Excuse me. I am
looking for...
BERNADETTA
(in Italian)
Who are you? How
did you get in here?
LAILA
A friend,
Alexandra, a pregnant Russian... Is she here?
Bernadetta looks at
Laila with suspicion.
BERNADETTA
Alexandra?
LAILA
Alexandra,
pregnant...
(she gestures 'pregnant')
...Russian...
BERNADETTA
(in Italian)
What do you want
her for?
LAILA
I'm her friend, I
need to know how she is.
Bernadetta relaxes.
BERNADETTA
(in Italian)
She's not here. She
is in a hospital... Hospital of St. Guillermo...
INT - TORINO,
HOSPITAL - DAY
With flowers and
bags, Laila walks determinedly through the corridor of a maternity unit in the
city hospital.
It's visiting hour:
FAMILIES OF PATIENTS, loud and emotional, fill the rooms with voices and
movement. Expressions of joy, greetings, children running along the corridor...
INT - TORINO,
HOSPITAL, alexandra’s room - DAY
Laila enters a
three-bed room. The first bed is occupied but empty at the moment. There is a
bunch of flowers on the bedside table. The middle bed is neatly made, waiting
for a new arrival. On the third bed, closest to the window, a woman is
half-sitting alone, her back to the door. It's Alexandra, in a blue hospital
dressing gown, and now very thin. The Akhmatova book, closed, is lying besides
her. Her eyes are fixed on something far away outside the window.
LAILA
Alexandra!
Alexandra turns
round in surprise. She attempts to get up but Laila stops her.
ALEXANDRA
How did you find
me?
LAILA
The nun in the
shelter sent me here...
She notices
Alexandra's new thin look and panics. Her hands shake as she unwraps the
flowers.
LAILA
Wait we need
something to put the flowers in...
She hastily looks
around, picks an empty plastic water bottle and fills it in the sink.
ALEXANDRA
I had a baby boy
last night... He'll have to be in incubator for a few days, but I feed him...
Laila drops the
bottle. It falls on the floor spilling the water. Laila grabs tissues from a
table by the sink and wipes the water.
LAILA
(with great relief)
Don't move I'll
clean it myself… You have a boy, you have a baby boy, Alexandra!
Alexandra smiles
happily.
Laila throws away
wet tissues, fills the bottle again and washes her hands and face.
She puts the bottle
with the flowers by Alexandra’s bed and takes out grapes and persimmons.
LAILA
…I didn't know what
you would like and what you could eat… You should tell me and I'll bring more…
ALEXANDRA
Thank you, it's
plenty.
LAILA
Please tell me…
She stops. Instead,
she picks up the Akhmatova book, opens, leafs through...
LAILA
One of Akhmatova's
poems you translated was about a life that went astray. How does it sound in
Russian?
Alexandra finds the
page. Laila listens, transfixed.
ALEXANDRA
(reading in Russian)
…I, like a river,
Have been turned aside by this harsh age… But sometimes a madcap air in spring,
Or a combination of words in a chance book, or somebody's smile, suddenly Draws
me into that non-existent life… In such a year would such have taken place,
Something else in another: travelling, seeing, Thinking, remembering, entering
a new love Like entering a mirror, with a dull sense of treason, and a wrinkle
that only yesterday Was absent… But if, from that life, I could step aside, And
see my life such as is, today, Then at last I'd known what envy means.
Alexandra closes
the book. In the returning silence they can hear voices and laughter
in the corridor.
ALEXANDRA
I have a tape with
Akhmatova reading her poems... recorded just before she died…
LAILA
Alexandra, I never
wanted you to leave. I had no idea my aunt would speak to you. I am sorry. Would you… Would you return
with me to Paris?
A LITTLE BOY stops
in the door and looks at Alexandra and Laila. Then a grown-up hand pulls him
away. Alexandra turns away from the door and looks at Laila.
ALEXANDRA
It's very kind. But
I shouldn't. I can't. In any case I can't move anywhere for a while, the baby's
too small. I have a room in the shelter. Have you seen it? It's nice, isn't it?
It has a private bath... I can stay there a few weeks, a few months, perhaps.
I’ll learn Italian. And besides... I have to find someone here, I promised to
help with an archive...
LAILA
Countess Greneff?
She died about a year ago, in an old folks home…
ALEXANDRA
Died?!…
She is silent for a
moment, then looks at Laila.
ALEXANDRA (CONT'D)
Perhaps someone
there still has the papers, I should at least try, what do you think?
A NURSE appears at
the door, interrupting.
NURSE
(in Italian)
Visitors should go
now. Feeding time in ten minutes.
She disappears.
LAILA
What did she say?
ALEXANDRA
It's time to feed
the babies. Do you want to see him before you go?
LAILA
Yes.
Laila helps
Alexandra to get out of bed. Alexandra adjusts her dressing gown. She touches
one of the persimmons on the bedside table.
ALEXANDRA
Thank you, I really
love them...
She suddenly thinks
about something.
ALEXANDRA (CONT'D)
Would you wait for
me, I'll only be a moment.
Laila leaves the
room.
INT - TORINO, HOSPITAL,
corridor - DAY
Laila waits in the
corridor, which is now almost empty.
At the far end a
WOMAN IN A GOWN is saying good-bye to AN OLD COUPLE, A MAN and the boy who earlier peeked into Alexandra's
room. A sound of crying babies is
heard from afar.
Alexandra comes out
of the room. She holds something wrapped in a plastic bag.
INT - TORINO, HOSPITAL,
premature ward - DAY
A glass wall,
behind which babies are lying in
transparent cribs, some have a glass dome with a light placed above them. They
have name-tags on the sides of the cribs.
Alexandra points to
one of the cribs, a few metres away from the glass.
ALEXANDRA
This one.
The baby is wearing a blue pyjamas, one
among those which Laila washed and dried.
LAILA
What's his name?
ALEXANDRA
I don't know yet...
He looks like my father.
LAILA
Have you called
your parents?
ALEXANDRA
No. I don't have a
card.
LAILA
Oh, Alexandra!
Wait... I bought one today...
She opens her
purse, rummages through it till she finds an Italian phone card. She holds it
out to Alexandra.
LAILA (CONT'D)
Take it... I should
go now.
Alexandra gives
Laila the plastic bag.
ALEXANDRA
It's something for
you. Open it when you leave the hospital, will you?
LAILA
I don't want a
farewell present from you, Alexandra.
For a brief moment
Laila holds Alexandra in her arms, then retreats.
Alexandra remains
by the glass wall with the babies behind it. She looks at Laila sadly walking
away along the corridor, wrapped in her shawl.
ALEXANDRA
Laila!
Laila turns around.
ALEXANDRA (CONT'D)
Will you come
tomorrow?
Laila smiles.
LAILA
Yes of course I
will.
EXT - TORINO,
HOSPITAL - DAY
As Laila exits the
hospital, she stops and unwraps the plastic bag.
Inside, is a tape
with a label in Russian 'Anna Akhmatova'. A note says in Alexandra's writing: 'with gratitude, from Alexandra'.
Laila turns around
to look at the hospital windows.
There is a woman's
figure in the third floor window, too far to be able to discern who she is.
EXT -TORINO,
STREETS - DAY (CONT.)
Laila walks away
along the street, across the market, now deserted, with empty boxes and other
rubbish scattered around... She walks and walks... up and up the hill till she
arrives at a view point at the very top. She stops. And the whole of the city,
the mountains, and the horizon are spread out in front of Laila...
As we see Laila
walking away from the hospital, we hear the sound of dialing, a telephone rings
and is picked up. The voices of Alexandra and her father, first very clear then
gradually fading away under the sound of the city.
V.O. ALEXANDRA
(in Russian)
Dad?...
V.O. GARIK
(in Russian)
Alexandra! Where
have you been?! Your mother calls every day mad with worry, blaming me... I
can't sleep! I almost had a heart attack! You are grown-up now, you have to be
responsible...
V.O. ALEXANDRA
(in Russian)
Dad, I had a baby.
V.O. GARIK
(in Russian)
That's exactly what
I feared! Your mother...
He suddenly stops
shouting.
V.O. GARIK
(in Russian)
When?
V.O. ALEXANDRA
(in Russian)
Yesterday. It's a
boy.
epilogue. EXT - PARIS,
streets - DAY
(this scene has a different tone comparing with the
rest of the film)
A grey winter day in Paris. The water of the
fountains and the water of the rain intermingle, the head-lights of cars
reflect in the wet asphalt of the streets, and cafes with their little tables
behind big glass windows become particularly attractive to a shivering
passer-by...
The camera moves along the faces of passers-by,
along figures sitting at the
tables in the cafes, trying to find the woman, whose familiar voice we can distinguish in the mixed
sound of a big city…
It seems that we see her, slowly walking under the
rain, under a big black umbrella… then in a wet window of a restaurant on the
street corner... By the restaurant entrance there is a counter with oysters and
bright halves of lemon arranged on the ice-cubes...
AUNT
There's too much rain in this country… I am well
here, but I wait, and wait, and wait… What am I waiting for, Laila?…
These oysters are good,
Laila, you would not find anything like this anywhere else… I assume the little
Daniel is fine… She is bizarre, your Russian, but you are bizarre as well…
The voice disappears for a moment, drowned by the
siren of a passing ambulance and a loud conversation of passers-by, then it is
heard again…
We see Aunt at a table in a
café. She opens a small parcel, taking out a letter, an audio tape and a
box with a walkman…
aunt
…What is it?
v.o. LAILA
It’s your birthday present. Listen.
…Aunt alone, under her black umbrella, is standing
in front of a cinema. She has a pair of headphones on her ears. She is looking
at A WORKER taking off the poster of a Russian film with Varya’s portrait. An
old recording of a deep female voice
reading Russian verses (Akhmatova) is heard.
Aunt
But it's in Russian! I understand nothing...
v.o. LAILA
Just listen.
Aunt turns away from the poster and slowly walks
along the street, hidden under her umbrella. The voice of Akhmatova fades away.
Now it’s Alexandra’s voice,
reading the same verse in French… and then – Laila’s voice
reading it in Arabic.
Aunt
How it’s beautiful, Laila! I
always knew you have talents, if only you used them more often!…
Aunt stops and
waits for Laila to catch up with her. Laila still has her old shawl, but her
appearance somehow changed – she looks younger, brighter. She is carrying
a teddy-bear in a transparent plastic bag with a festive ribbon.
aunt
…Now Laila, when you come for
dinner tonight make sure she is dressed really well. And put some colour on her
lips, will you?
laila
Why is it so, darling? You
promised there’d be no divorced lawyers!
aunt
Oh no lawyers, just a single
doctor, a very respectable young man, a friend of Janine’s son…
Without letting
Laila say anything in response, Aunt kisses her and descends into metro.
CU: Smiling,
Laila watches her disappear.
The noise of the
city increases in a tidal wave, drowning Laila in its mixture of voices and languages, car horns, evening bells, and poems…
EXT - TORINO,
HOSPITAL - DAY
CU: Laila’s smile
disappears.
Laila is still in
front of the hospital, looking at its dark windows.
She turns around
and walks away.
THE END