Copyright 2008 by Ronald L. Ecker
All Right Reserved
Log line: The tragic love story of the troubled 19th-century Danish writer Soren Kierkegaard and the beautiful Regine Olsen.
This screenplay has been divided into three web pages, which helps with the downloading time. A "Go to" link at the bottom of each page will take you to the next page.
FADE IN:
INT. SITTING ROOM - A MANSION - COPENHAGEN - DAY (1898)
A white-haired lady named REGINE, 78, in a black silk dress,
sits talking with interviewer RAPHAEL MEYER, 29. Both are
Danish.
MEYER
When did you first meet Soren
Kierkegaard?
REGINE
I met him at the home of Bolette
Rordam. I was only fifteen. I got
to know him two years later, when I
guess he thought I was old enough
to court.
MEYER
What year was that?
REGINE
Well, I was seventeen . . .
EXT. COPENHAGEN, DENMARK - DAY (1838)
ESTABLISHING SHOT of the port city's downtown Nytorv ("New
Market") square with its fountain, cobblestones, and PEOPLE
walking or riding in horse-drawn carts and carriages.
REGINE (V.O.) (cont'd)
It would have been eighteen thirty-
eight. Soren was a university
student in those days. You might
say he was a perpetual university
student.
During this, SUPERIMPOSE:
COPENHAGEN, DENMARK
INT. MUSIC TEACHER'S HOME - DAY
Pretty YOUNG REGINE OLSEN, 17, is being given a singing lesson
by her MUSIC TEACHER, 50, while her girlfriend THRINE DAHL,
17, sits listening.
MUSIC TEACHER
No, Regine, sing from here. Sing
from the diaphragm.
Regine tries again.
INT. PLEISCH'S TEAROOM - DAY (HALF AN HOUR LATER)
SOREN KIERKEGAARD, 24, looks at the time on his pocket watch.
Sitting alone at a table, other PATRONS in b.g., Soren is
watching the street through the front window.
Soren is slim, with a pleasant face. Wearing a buttoned
coat, he is holding a bamboo walking stick, his top hat on
the table.
Soren sees Regine passing by on the street with Thrine. He
grabs his hat and rises, taking money from a pocket for his
coffee.
EXT. STREET - DAY
Regine and Thrine walk, unaware that Soren - greeting friends
and acquaintances among PASSERSBY - is following them.
EXT. JANSEN HOME - DAY
Soren watches as Regine says goodbye to Thrine and enters the
two-story Jansen home. Thrine proceeds down the street.
Soren stops by the home and regards it.
A YOUNG MAN ON THE STREET comes walking by. As Soren points
with his cane:
SOREN
Excuse me. Can you tell me who
lives at this address?
YOUNG MAN
That's Mrs. Jansen, sir.
SOREN
Thank you.
Soren seems unsure what to do next. Then an upper window
opens and MRS. JANSEN, 68, beats some dust from a cloth.
As Soren tips his hat with a smile:
SOREN (cont'd)
Good afternoon. Mrs. Jansen, I
believe.
MRS. JANSEN
Good afternoon. Do I know you, sir?
SOREN
I am Soren Kierkegaard. My father
is Michael.
MRS. JANSEN
Oh, yes, I certainly know your
father! I bought so many clothes
from him, before he sold his
business. How is he?
SOREN
He is well. And he has often
spoken kindly of you.
MRS. JANSEN
So you are his son.
SOREN
The youngest of two surviving.
MRS. JANSEN
Would you like to come in for a
fresh cup of tea?
INT. A SITTING ROOM - JANSEN HOME - DAY
Soren sits sipping his tea, Mrs. Jansen sitting nearby with
some knitting.
MRS. JANSEN
I am flattered, Mister Kierkegaard,
that you would want to spend some
time chatting with an old lady
like me.
SOREN
Why do you think that I wouldn't?
MRS. JANSEN
Well, you must have many friends
your own age at the university
and all.
SOREN
Why, madam, I would much rather
talk with you older ladies than
with those young fellows, so full
of themselves. You should hear
their pretentious discussions of
Hegel, or of Schleiermacher, or
of liberalism, or of censorship of
the press.
MRS. JANSEN
What do you like to talk about with
us older ladies?
SOREN
Why, it doesn't matter. Some good
family gossip, the weather, or how
much milk it takes to produce a
pound of butter.
Regine enters the room with her cousin HENRIETTE, 18. As
Soren rises:
MRS. JANSEN
Mister Kierkegaard, this is
my niece Regine Olsen, and my
grandchild Henriette.
SOREN
We have met before, Regine. Do
you remember?
REGINE
Most certainly. It was at the home
of the Rordams, about two years ago.
Regine and Henriette sit down, Soren returning to his chair.
SOREN
You must have been, what then, all
of fifteen?
REGINE
Yes. A group of us girls were
there, and you came by, to borrow
a book, I believe.
SOREN
To return one. I do such odd
things, returning things that I
borrow. But of course the lovely
Bolette lived there, which may have
prompted my return of the book.
REGINE
I believe you were seeing her.
SOREN
Yes. Till she saw the last of me.
REGINE
She asked you to speak to us girls.
SOREN
What did I speak of?
REGINE
I don't remember the subject. I
just remember how the words seem
to flow like a stream.
SOREN
I do remember your face, your
expression. You know how some
images stick in your mind?
REGINE
Yes. You know, my parents have
open house once a week. Wednesday
evenings. You are welcome to come.
SOREN
I would like that. Your father is
State Councillor Olsen.
REGINE
Yes.
SOREN
I know him. I would like that
indeed. One Wednesday evening I
just might show up.
REGINE
(rising)
Well, Auntie, I'll be running along
now.
SOREN
You are going home, are you?
REGINE
Yes. I was on my way home from my
music lesson, but I had to tell
Henriette something.
SOREN
(rising)
Well then, let me walk you. I was
out walking anyway, as I do every
day in this fair town of ours.
Soren takes a last sip of tea.
SOREN (cont'd)
Mrs. Jansen, you should open a
tearoom. I would be your best
customer.
MRS. JANSEN
Oh, Mister Kierkegaard, really.
EXT. A STREET - DAY (TEN MINUTES LATER)
Soren and Regine are chatting as they walk toward the street
where she lives.
Among PASSERSBY, university student ANDREAS, 25, sees Soren
and comes over.
ANDREAS
Soren! You have saved me a trip
to your house.
Andreas nods a greeting to Regine. As Andreas hands Soren a
card with handwriting on it:
ANDREAS (cont'd)
You are invited to a banquet tomorrow
night. Eight o'clock. That's the
address. There'll be five of us
there.
Andreas nods farewell to Regine and moves off. Soren and
Regine resume walking as Soren pockets the card.
SOREN
Andreas had this "brilliant idea,"
as he called it, for a banquet with
a theme: "In vino veritas." We
shall each have to give a speech,
on a subject to be assigned on the
spot, after we've all had too much
to drink - when the truth will out.
EXT. THE OLSENS' STREET (BORSGADE) - DAY
Soren and Regine continue to chat as they are walking on
Borsgade. There is a row of four-story gabled mansions on
one side of the street, and a canal on the other.
SOREN
It has been four years since my
mother died. She was my father's
second wife. She gave him all of
his children.
REGINE
You have how many brothers and
sisters?
SOREN
One surviving brother. Gone are
two other brothers, and three
sisters.
REGINE
You mean they've all died?
SOREN
Yes. None of them lived past the
age of Christ. Thirty-three. My
brother Michael died in a playground
accident, before I was born. He was
only twelve. My sister Maren - I'm
not sure why she died, but I remember
her convulsions. My sister Nicoline
died soon after bearing a stillborn
child. My brother Niels went off to
America, and died of a fever. He was
twenty-four, I believe. Two weeks
after my mother died, my sister
Petrea died during childbirth. Age
thirty-three.
(beat)
I don't think I left anyone out.
REGINE
I'm so sorry. It seems almost
like . . .
SOREN
A curse?
REGINE
That's not the word I wanted.
As Soren walks Regine to the front door of the Olsen mansion:
SOREN
But that's it exactly. There is a
curse on the family. I must warn
you.
REGINE
Why must you warn me?
SOREN
(beat)
Perhaps, as you say, a "curse"
is too strong a word. Forget
that I used it.
REGINE
All right, it's forgotten.
Regine opens the door.
SOREN
I enjoyed the walk with you.
REGINE
I enjoyed it too.
SOREN
Well that was the purpose. Till
I see you again, Regine.
REGINE
Don't forget the open houses.
SOREN
How could I?
Soren starts to go.
REGINE
Soren . . . How did you happen to
be at my aunt's house?
SOREN
Do you know what I think? An angel
led me there. Do you believe in
angels?
REGINE
Yes, I suppose so.
SOREN
So do I.
Soren moves off, Regine watching him.
EXT. THE KIERKEGAARD HOME (NO. 2 NYTORV) - NIGHT
ESTABLISHING SHOT. The four-story town house stands next to
the courthouse on Nytorv square. A few PEOPLE move about.
INT. DINING ROOM - KIERKEGAARD HOME - NIGHT
At a long dinner table, Soren dines in silence with his white-
haired father MICHAEL KIERKEGAARD, 82, and Soren's brother
PETER KIERKEGAARD, 33. A middle-aged HOUSEKEEPER attends.
Michael breaks the silence as they eat:
MICHAEL
Soren, have you given any further
thought to taking the theological
exam?
SOREN
No, Father, I haven't.
MICHAEL
Have you given any thought to
taking any sort of exam?
SOREN
Not anytime soon, Father. It
requires much preparation.
MICHAEL
Are you attending any university
lectures at all?
SOREN
Why, yes, Father, ask my brother
the professor. He sees me there
now and then.
PETER
Yes. Usually lying on the couch
in the student union.
SOREN
A good place to think.
PETER
Or to get over a hangover.
SOREN
That too. I am also busy at present,
working on a rather long essay, which
I hope to have published.
PETER
An essay on what?
SOREN
The works of Hans Christian Andersen.
I saw the fellow on the street, and
told him to look forward to it. He
is now under the delusion that the
review will be favorable.
MICHAEL
What are you going to say about him?
SOREN
That as an author he totally lacks
a life view.
PETER
Do you have a life view, Soren?
SOREN
Yes, Peter, I do, though not the
subject of the essay. My life
view? Why, the darkest Christianity
imaginable, instilled in me from the
earliest age. Before the Almighty,
in fear and trembling, we are all in
the wrong. We have all sinned and
fall short of the glory of God.
PETER
Are you mocking the faith, Soren?
SOREN
No, I want to make this clear, lest
there be any doubt in what's left
of this curséd family. We do all
agree there's a curse? I've
retained this bleak Christian view
that you taught me, Father, I have
never renounced it. For how does
one get rid of this fear of hell in
which I was raised, depriving me of
a childhood? It has weighed on my
soul every day. I am just as
unhappy as you are, Father, as you
wished me to be. Doesn't that make
you happy? No, of course, nothing
would.
PETER
Are you finished?
SOREN
No. I may be viewed as a prodigal
son, a carefree bon vivant, but
it's all just a pretense. I can
go to a party, and be the soul
of wit, I can entertain everyone
there - then go home and want to
shoot myself. But that's out of
the question, for suicides go to
hell, do they not? So there is
no escape from this situation.
Michael has a downcast look. Peter stares at Soren.
MICHAEL
I will pay the rent for your
apartment, for one more year.
SOREN
Thank you, Father.
MICHAEL
Do you need more money yet?
SOREN
Yes, Father. I could use about
fifty rixdollars, thank you.
MICHAEL
I fear, Soren, that nothing will
become of you, as long as you have
any money.
SOREN
Yes, Father.
Silence again descends.
INT. JANSEN'S HOME - DAY
Regine stands beside Mrs. Jansen as the latter is preparing
tea for TWO ELDERLY LADIES in b.g.
REGINE
Auntie, why was Soren Kierkegaard
here yesterday?
MRS. JANSEN
Well, I saw him standing outside,
and he introduced himself.
REGINE
What did you talk about with him?
MRS. JANSEN
Well, we didn't have time to talk
about much before - Regine, do you
think he was here to meet you?
REGINE
I've been wondering. Do you know
what he told me? That an angel led
him here.
MRS. JANSEN
Why, that silver-tongued devil.
INT. A PRIVATE DINING ROOM - AN INN NEAR COPENHAGEN - NIGHT
Soren, Andreas, EMIL BOESEN, 24, JOHANNES, 24, and JULIUS,
23, are having their banquet. They are suitably tipsy on
wine, with one or two of them still nibbling food.
ANDREAS
And now we come to Soren Kierkegaard.
On your feet, S.K.
Soren rises, wine goblet in hand.
ANDREAS (cont'd)
Soren will speak to us all about -
what? . . . Not everyone at once.
Emil?
EMIL
Talk to us about life, Soren.
SOREN
You want me to talk about life?
Well, let's start with mine. I
was born in eighteen thirteen -
the year the state of Denmark went
bankrupt. I confess. There were
so many counterfeit bills going
round, I might as well be considered
one of them.
Soren sips while the others are laughing.
SOREN (cont'd)
The thing about life is, it only
makes sense looking back. But you
can only live it moving forward.
Which makes it hard to know what
to do. We must make absurd choices.
Soren sips again. He becomes serious.
SOREN (cont'd)
Looking back . . . Imagine that you
are a father - an old one at that,
with a tormented soul, almost sixty
when your youngest is born. You
show this young child - and he is
only a child - a picture of the
crucified Christ.
INTERCUT: A STARK IMAGE OF THE CRUCIFIXION
Grunewald's dark painting "Crucifixion," with the distorted
body, the elongated arms, and John the Baptist, with a Bible
in hand, pointing at Christ suffering on the cross.
SOREN (cont'd)
You tell him that this is the
Savior. But the child doesn't know
what that means. You tell him this
crucified man was the most loving
man who has ever lived.
INTERCUT: THE CHILD
5-YEAR-OLD SOREN looks bewildered, almost frightened, by the
image he is being shown by his 63-year-old father in a dimly
lit study.
SOREN (cont'd)
And the child will naturally ask,
why were they so mean to him then?
And the child will wonder why God
in heaven did nothing to prevent
this. And this picture was the
only impression the child had of
the Savior. It would follow him
throughout his life, he could never
get away from it. The more dread
he had of Christianity, the more
he was drawn to it. This dreadful
image seemed to require something
of him.
END INTERCUT, STAY with the adult Soren.
SOREN (cont'd)
What then should I make of my life?
What is my destiny? What does God
really want me to do? Please my
father and take the theological exam?
Become a pastor in the state church
of Denmark? . . . My friends, what
good would it do me to discover some
great objective truth - if truth
stood before me cold and naked - if
it doesn't then become a living part
of me? That, you see, is what I lack
in this life, that which I cannot
find. A truth that is true for me.
An idea - something - for which I can
live and die. That is what my soul
thirsts for, like a desert thirsts
for water. In vino veritas.
EXT. THE INN - NIGHT (LATER)
The five banqueters are leaving the inn. Tipsy Soren with
his top hat gets into an open horse carriage, with some help
from Emil, already aboard with Johannes and Julius.
Andreas stops by the carriage on a horse. He whispers
something to COACHMAN #1, who nods affirmatively, then:
ANDREAS
Have a nice ride, lads. I shall
ride ahead on my filly.
JULIUS
Ahead to where? He's not driving
us home?
ANDREAS
It's too early for home.
JOHANNES
Good. We still have this bottle to
drink.
Johannes opens a new bottle of wine. They have brought wine
glasses along.
ANDREAS
I'll be waiting for you, lads, when
you get there.
Andreas rides off. The coachman glances back to be sure
everyone is securely aboard.
JULIUS
Where are we going, coachman?
COACHMAN #1
It is not for me to say, sir.
INT. UPSTAIRS CORRIDOR - KIERKEGAARD HOME - NIGHT
Peter has accompanied Michael to the door of one of Michael's
apartment rooms.
PETER
Good night, Father.
As Peter proceeds toward his own apartment:
MICHAEL
Good night, son.
EXT. THE CARRIAGE - NIGHT
Soren and the three other passengers drink their wine while
being driven along the road. Soren is sitting beside Emil.
SOREN
Emil, do you know Terkild Olsen?
The state councillor?
EMIL
I know of him. Why?
SOREN
He has a lovely daughter.
JULIUS
Here's to lovely daughters.
EMIL
Whatever happened to Bolette,
Soren?
SOREN
Did something happen to her?
Johannes and Julius laugh. As Johannes offers to pour it:
JOHANNES
Have some more wine, S.K.
INT. PETER'S BEDROOM - NIGHT
Peter is tiredly preparing for bed.
INT. MICHAEL'S BEDROOM - NIGHT
Michael lies down in his nightclothes. The room is dark but
for moonlight through the windows. He lies sadly thinking.
FLASHBACK:
INT. A FLOWER-FILLED ROOM - DAY (1797)
KIRSTINE KIERKEGAARD, 35, lies dead in her coffin.
YOUNG MICHAEL, 41, sits grieving alone with the body.
END FLASHBACK
INT. OLGA'S ROOM - A BROTHEL - NIGHT
Andreas is giving some money to the MADAM, 50, while OLGA,
28, a fairly attractive prostitute in a red frilly robe,
stands by.
ANDREAS
This is a surprise for our friend,
and it may be his first time.
MADAM
He will be in good hands. Olga can
be full of surprises.
Andreas looks at Olga as she smiles.
ANDREAS
Yes, I wouldn't be surprised.
INT. MICHAEL'S BEDROOM - NIGHT
Michael lies thinking as before, with watery eyes.
FLASHBACK:
INT. MICHAEL'S APARTMENT - KIERKEGAARD HOME - NIGHT (1797)
The 41-year-old Michael sits brooding alone in a chair.
The somewhat chubby housemaid ANE LUND, 29, enters with a cup
of tea.
ANE
I've brought you some tea, Mister
Kierkegaard.
Ane sets the tea on the table by Michael's chair.
Michael gently takes hold of Ane's arm. He pulls her to him
and they embrace in the chair, Michael kissing her neck and
face.
ANE (cont'd)
Oh, Mister Kierkegaard.
END FLASHBACK
EXT. THE BROTHEL - NIGHT
It's an ordinary-looking two-story house from outside, as
Soren and the others arrive in the carriage.
Andreas appears and steps to the carriage door.
ANDREAS
Welcome, lads! Come along inside.
You first, Soren.
When Soren, a bit drunker than before, is out of the
carriage, Andreas takes his arm and starts distracting his
attention from the house as they walk toward it:
ANDREAS (cont'd)
Soren, I hear you're writing
something about Hans Christian
Andersen.
SOREN
Yes.
ANDREAS
What is it you're saying about him?
Johannes and Julius smile knowingly as they follow Andreas
and Soren. Emil, walking last, seems to have misgivings.
INT. MICHAEL'S BEDROOM - NIGHT
Michael looks tortured as he lies remembering.
FLASHBACK:
INT. MICHAEL'S APARTMENT - KIERKEGAARD HOME - NIGHT (1797)
The maid Ane sits nervously before the 41-year-old Michael.
ANE
I'm pregnant, Mister Kierkegaard.
You will marry me, won't you?
END FLASHBACK
INT. MICHAEL'S BEDROOM - NIGHT
Old Michael lies weeping in his bed.
INT. THE BROTHEL - NIGHT
Andreas leads Soren directly from the front room to the
stairs, the others following.
ANDREAS
Let's go on upstairs, shall we?
The madam watches approvingly as they start up the steps.
Soren looks around, apparently with some drunken sense of
deja vu, as they are walking up the stairs.
SOREN
Is this Mrs. Jansen's?
ANDREAS
Why, yes - yes, it is Mrs. Jansen's.
They reach the top of the stairs.
ANDREAS (cont'd)
This first door here is her
daughter's room.
(knocks on the door)
You wait here with her, Soren,
and we'll be back soon.
Olga, still in her robe, opens the door from inside the room
and smiles at them.
ANDREAS (cont'd)
(to Olga)
Entertain our friend, will you?
OLGA
That's what we're here for.
SOREN
(to Andreas)
Where are you going?
ANDREAS
To find Mrs. Jansen.
OLGA
(to Soren)
Come on in, dear.
INT. MICHAEL'S BEDROOM - NIGHT
Michael lies weeping in his bed as before.
MICHAEL
O Lord . . . O Lord, can I ever
have your forgiveness?
INT. OLGA'S ROOM - NIGHT
Soren, hat in hand, looks around as Olga closes the door.
OLGA
Let me take your hat, dear.
As Soren hands it to her:
OLGA (cont'd)
I'm Olga. Your name is Soren?
SOREN
Soren Kierkegaard. I have been
here before.
OLGA
Have you? It is not your first
time?
SOREN
Well, it was not in this room.
OLGA
No, I don't remember you being
here. I'm sure that I would.
What would you like, Soren?
SOREN
What would I like?
OLGA
What can I do for you?
SOREN
Can you play a little Mozart?
Olga laughs, as she leads Soren to the bed.
OLGA
I don't have a piano or harp, and
we have no orchestra. Sit down
here.
Soren sits down on the bed.
OLGA (cont'd)
Go ahead and lie down.
As she pushes on him, Soren reclining:
SOREN
But I might go to sleep.
Olga opens her robe.
OLGA
Oh, I'll try to keep you awake.
She shows off in her corset.
SOREN
What are you doing?
OLGA
I'm going to take off my things,
dear. Shouldn't you start doing
the same?
SOREN
What if Mrs. Jansen comes in?
OLGA
There is no Mrs. Jansen.
Olga gets down on the bed with Soren, to start unbuttoning
his shirt.
OLGA (cont'd)
Come on, dear, let's get undressed.
SOREN
There is no Mrs. Jansen?
OLGA
Don't you like this surprise? It
was arranged by your friends.
SOREN
You aren't her daughter.
(looks around)
Am I in a brothel?
OLGA
Where did you think you were?
As Olga tries again to get Soren's shirt unbuttoned:
SOREN
No! Get your hands off me!
Soren scrambles up off the bed.
OLGA
What's wrong with you?
SOREN
My God. The sins of my father.
OLGA
What?
SOREN
I have to get out of here.
OLGA
There's the door. Go ahead and
get out.
Before Soren reaches the door, his legs seem to buckle and
he falls to his knees.
OLGA (cont'd)
Get up and get out of here.
As Soren stays down, on his hands and knees, Olga sees that
something is wrong, as he's shaking. She leans down to him.
OLGA (cont'd)
Are you all right?
Olga starts to put a hand on his back. Then she suddenly
steps back as if repulsed.
OLGA (cont'd)
Do you have the falling sickness?
Soren, through shaking, slowly gets up on one knee, then
rises to his feet. He walks out, Olga watching him.
EXT. THE BROTHEL - NIGHT
Soren's four friends are waiting by the carriage when Soren
comes out of the house.
ANDREAS
Soren! Why so quick?
SOREN
Damn you! You bastards!
ANDREAS
Soren -
SOREN
How could you do that? Do you know
what it means?
Soren, still a bit unsteady, starts walking away.
ANDREAS
Soren, wait. Where are you going?
SOREN
Home.
EMIL
Soren, wait. We will take you.
SOREN
I would rather walk.
Olga appears at an upstairs window.
OLGA
Here, your friend forgot his hat.
Olga throws the hat down, Julius catching it.
INT. PETER'S BEDROOM - NIGHT
Peter, in nightclothes, sits down on the edge of his bed. He
looks pensive.
INT. MICHAEL'S BEDROOM - NIGHT
Michael lies in restless sleep.
MICHAEL (V.O.)
(whispering)
Let me tell you, my son, of the
Jutland Moor . . .
INT. PETER'S BEDROOM - NIGHT
Peter thoughtfully sits as before, as if hearing:
MICHAEL (V.O.) (cont'd)
(whispering)
The thing that happened on the
Jutland moor.
A NIGHTMARE:
EXT. THE JUTLAND MOOR - DAY
Sunless, as a lone eery HUMAN FIGURE, the size of a boy or
girl about 12, sits huddled in the cold in poor shepherd's
clothing, a hat covering the head, the face down, unseen.
Overhead there is thunder and lightning.
The figure raises its head and looks skyward in anger. The
face is that of a child's emaciated corpse.
The figure raises a shaking, skeletal fist to the flashing
heavens.
END NIGHTMARE
INT. MICHAEL'S BEDROOM - NIGHT
Awaking from the nightmare, Michael bolts up in bed. He sits
gasping in anguish.
INT. SOREN'S LOVSTRAEDE APARTMENT - DAY (NEXT MORNING)
Soren, still clothed from the night before, stirs awake on
his bed in the second-floor apartment. It's raining outside
with thunder.
Soren continues to lie in bed, as if in despair on top of a
hangover.
EXT. THE STREET (LOVSTRAEDE) - DAY
In the rain, under flashes of lightning and rumbles of thunder,
someone with an umbrella and Soren's hat walks to 7 Lovstraede.
INT. THE APARTMENT - DAY
Soren, disheveled, answers the door. Outside stands Emil.
EMIL
You forgot your hat last night.
(handing it to Soren)
I tried not to get it wet.
SOREN
Thank you. Would you like to come
in?
EMIL
I'm on my way to a lecture. Soren,
that brothel last night, I knew
nothing about it - where we were
going.
SOREN
I understand.
EMIL
Andreas said to tell you he's sorry.
SOREN
Tell him I forgive him.
EMIL
Are you all right?
SOREN
Yes. Thank you.
Emil nods and turns to go.
EXT. THE OLSEN MANSION - NIGHT (A WEEK LATER)
It's slightly foggy as Soren, with top hat and cane, stops in
front of the Olsen mansion.
A few GUESTS can be seen through a living-room window.
Soren stands gazing at the window. His cane falls from his
hand. He looks down at the hand. It is shaking.
Soren stoops and picks up the cane. There are footsteps.
Rising, he has been joined by FRITZ SCHLEGEL, 28.
SCHLEGEL
Mister Kierkegaard.
SOREN
Good evening, Mister Schlegel.
SCHLEGEL
Going to the Olsens' open house?
SOREN
No. I was just passing by.
Schlegel proceeds to the front door and knocks.
A young OLSEN MAID answers the door, and Schlegel goes in,
while Soren watches.
Soren gazes at the window a moment longer. He flexes his
hand, and moves off down the street.
INT. LIVING ROOM - OLSEN MANSION - NIGHT
The open house is in progress. Schlegel, with a cup of
coffee, sits chatting with Regine, other GUESTS in b.g.
SCHLEGEL
Do you know, Regine, you were
always my favorite pupil.
REGINE
Well thank you. And you are a
marvelous teacher. May I ask you
something, Fritz?
SCHLEGEL
Of course.
REGINE
Do you know Soren Kierkegaard?
SCHLEGEL
It's funny you should ask. When I
came here this evening, he was just
passing by outside. Did you see
him?
REGINE
No. He was just passing by?
SCHLEGEL
Yes. Dropped his cane. I think he
may have been drunk. A rather odd
fellow. Walks the streets every
day, as if he has nothing better to
do. Perhaps he doesn't. His
wealthy father supports him. If I
were his father, I would tell him
to go find a charity.
INT. MUSIC TEACHER'S HOME - DAY
Regine is being given another singing lesson by her music
teacher, while Thrine waits.
MUSIC TEACHER
No, Regine. Remember, sing from
here.
EXT. STREET - COPENHAGEN - DAY
Regine and Thrine are walking their usual route after Regine's
music lesson.
THRINE
What are you going to do if Fritz
Schlegel proposes?
REGINE
I don't know.
THRINE
Well what do you really think of
him?
REGINE
I'm not in love with him, if that's
what you mean. But I have always
liked him.
THRINE
But you're waiting on Soren.
REGINE
I haven't said that.
THRINE
What makes you think Soren might
propose?
REGINE
Well, he followed me to my aunt's,
I think, and then walked me home.
And it's the way he has talked.
THRINE
He could charm all the girls.
REGINE
So who is he charming? Do you
know?
THRINE
The only one I've known about is
Bolette.
REGINE
Bolette. That was two years ago.
THRINE
Has Soren been once to your open
house?
REGINE
No, but he wanted to. He was seen
outside.
THRINE
Well did someone not let him in?
If you wait for Soren, and he never
proposes, you could lose out on
both.
REGINE
Well it won't be the end of the
world. I don't think I'll be an
old maid.
THRINE
No. But it would be the end of
Soren. You might die of a broken
heart.
INT. PLEISCH'S TEAROOM - DAY
Soren, looking out the window, sits at the same table as
before, this time with Emil. They are having tea, other
PATRONS in b.g.
SOREN
There, Emil.
Emil looks. Regine is walking by outside with Thrine.
EMIL
State Councillor Olsen's daughter.
SOREN
Going home from her music lesson.
You, my old childhood friend, are
the only one I can show her to.
EXT. THE STREET - DAY (TWO MINUTES LATER)
Soren and Emil are walking together.
EMIL
Why don't you go after her, Soren?
SOREN
You mean marry her? Don't you know
that there are but two of us left,
my brother Peter and I? And that
our father, who is eighty-two years
old, is fated to outlive us both?
Emil looks quizzically at Soren.
EMIL
You don't know that.
SOREN
Yes, I do. It's a curse.
EMIL
And that's why you can't marry?
SOREN
It would be irresponsible.
They stop at a corner where they are to part ways.
SOREN (cont'd)
I will see you tomorrow, Emil.
Soren starts to walk off.
EMIL
Soren . . . What is the source of
this "curse"?
SOREN
I can't talk about it, outside of
the family. Do you want to know a
favorite Bible verse? "The father
has eaten sour grapes, and the
children's teeth are set on edge."
Soren walks away, Emil watching him.
INT. SOREN'S LOVSTRAEDE APARTMENT - NIGHT
Soren, drinking a glass of wine, sits trying to read a book.
He gives up in disinterest. He seems totally at loose ends.
There is an urgent knocking on the door. Soren rises and
goes to the door.
Opening the door, Soren finds Peter's servant ANDERS, 21,
outside.
SOREN
Anders, what is it?
ANDERS
Your brother sent me. It's your
father. He seems gravely ill.
Go to Part 2Back to beginning of script