INT. SCHLEGEL HOME - NIGHT
Fritz Schlegel, all dressed up to go somewhere, finishes
adjusting his tie in a mirror.
SUPERIMPOSE: "Three Months Later"
Schlegel looks at himself and talks to his image.
SCHLEGEL
As I have told you before, Regine,
you were always my favorite pupil.
Tonight I would like to ask you if
you might favor me with your hand
in marriage.
Noting a speck of lint on his coat, Schlegel interrupts
himself to remove it.
SCHLEGEL (cont'd)
I have yet to speak to your father,
as I wish to know first what you
think of my proposal.
Moments later, MRS. SCHLEGEL, 62, sits knitting as Fritz, in
a winter coat, stops on his way to the front door.
MRS. SCHLEGEL
Off to the Olsens', dear?
SCHLEGEL
Yes, Mother.
MRS. SCHLEGEL
I do hope something comes of it.
EXT. OLSEN MANSION - NIGHT
Light snow falls. Soren in top hat steps out of the shadows,
to gaze at the lit window, on open-house night, as before.
INT. OLSEN MANSION - LIVING ROOM - NIGHT
The young maid serves several OPEN-HOUSE GUESTS with a tray
of pastries.
Schlegel sees Regine, looking lovely, stroll demurely through
the room. Their eyes meet. Regine and Schlegel smile at
each other.
Regine is now pleased to see Soren. Mrs. Olsen has just let
Soren in, takes his hat and coat, and chats with him.
Schlegel, served a pastry, starts to take a bite. His hand
freezes in front of his mouth as he watches Regine walk over
to Soren.
REGINE
Soren, I am so glad to see you.
SOREN
I warned you I would show up some
night.
Terkild Olsen steps over to Soren and Regine. He and Soren
shake hands.
OLSEN
Soren, what a pleasant surprise.
You have met my daughter Regine?
SOREN
Yes. It is always a special occasion.
LATER
Among the guests, Schlegel, with a cup of coffee, chats with
60-ish GENTLEMAN #1. Regine begins playing the piano.
Schlegel notes how Soren and Olsen sit together, sharing
amiable glances of approval, as they listen to Regine play.
LATER
Soren and Regine chat, as other guests have their own
conversations.
SOREN
I would have come sooner, but
I've been very busy, since my dear
father died. As he wished, I am
planning to take the examination
for a degree in theology.
REGINE
Why, that's good. I am proud of
you, Soren.
SOREN
It's almost as if he died for me,
that I might make something of
myself, at long last. Anyway, I
am having to hit the books for a
change.
REGINE
How is your brother?
SOREN
He's all right, I guess. We don't
see much of each other.
REGINE
Is he married?
SOREN
He was. His wife died only about
a year after the wedding.
REGINE
Oh. Would that be part of - I'm
sorry, I shouldn't ask. The curse
you told me about.
SOREN
There is no curse, Regine. Only
an unfortunate number of deaths.
And a great sense of guilt that my
father carried for most of his life.
Forget that I mentioned a curse.
Schlegel sits with Gentleman #1, who keeps glancing at
Schlegel as if he wants to chat. But Schlegel keeps glancing
sullenly at Soren and Regine.
GENTLEMAN #1
Did you know that the king has been
awarded the Spanish Order of the
Golden Fleece?
SCHLEGEL
What?
GENTLEMAN #1
The Order of the Golden Fleece, in
Spain.
GENTLEMAN #2, 50-ish, has stepped over with his coffee and
overhears.
GENTLEMAN #2
Good for him. And when will the
king award us a constitution, right
here in Denmark?
GENTLEMAN #1
Good question.
SCHLEGEL
As if things were not bad enough, I
am surrounded by liberals.
LATER
Regine walks the departing Soren to the door. Most of the
guests are gone.
REGINE
After you get your degree, will you
teach, or go to a seminary?
SOREN
Well, first things first. Can you
see me as a pastor? In some out-
of-the-way neck of the woods?
REGINE
With your gift of communication,
you will make a fine one, Soren.
SOREN
I don't know if my path lies that
way or not yet. But we shall
communicate again soon. Good
night, my dear.
REGINE
Good night.
Soren leaves. Moments later, Schlegel, hat in hand, speaks
to Regine.
SCHLEGEL
Regine, I . . . I would just like
to say that - you were always my
favorite pupil. But I've already
told you that, haven't I.
REGINE
And you were my favorite teacher.
I still want to call you Mister
Schlegel.
SCHLEGEL
Well please don't do that. And
I've enjoyed this evening, as
usual. So, uh - I shall see you
next week?
REGINE
You are always most welcome, Fritz.
SCHLEGEL
Well, good night, then.
REGINE
Good night.
Schlegel hesitates, then heads for the door.
EXT. THE STROGET (COPENHAGEN'S MAIN STREET) - DAY
It's spring. Soren walks along with top hat and cane. He
greets a couple of the PEOPLE who pass.
Superimpose: "Four Months Later"
Soren sees Regine walking with Henriette. Soren goes over
to them.
REGINE
Good afternoon, Soren. You know my
cousin Henriette.
SOREN
Yes. How is Mrs. Jansen?
HENRIETTE
Fairly well. She was hoping you
would come back to see her.
SOREN
Please tell her I've been dreadfully
busy. Which brings me to my news.
(to Regine)
I was going to send you a note. I
took the examination in theology
yesterday.
REGINE
And?
SOREN
I have a degree, summa cum laude.
REGINE
Oh, that's wonderful.
HENRIETTE
Congratulations.
SOREN
Thank you. I am off now to Jutland
for a while, to recover.
REGINE
Oh. Are you going alone?
SOREN
With a servant. I'm going to
borrow my brother's.
REGINE
Do you have family in Jutland?
SOREN
Some cousins. I want to visit
Sedding, the village my father was
from. And to see the Jutland moor.
EXT. JUTLAND MOOR - DAY
Lonely. Mostly flat, green terrain, with a treeline, under
overcast sky.
60-ish COACHMAN #2 drives Soren and the servant Anders in a
horse carriage across the moor.
EXT. CARRIAGE - MOVING - DAY
Soren looks absorbed by the scenery.
SOREN
(softly)
Here all lies naked and exposed
before God.
ANDERS
Why did you say, sir?
SOREN
(beat)
Stop here, coachman.
EXT. MOOR - DAY
The coachman stops the carriage. Soren gets out, followed by
Anders, and walks from the road.
Moments later, Soren stops. He looks off at a SHEPHERD BOY
with his FLOCK OF SHEEP in the distance.
The coachman sits waiting. He watches a solitary HAWK in
flight.
Soren seems deeply moved as he looks around at the terrain
and the foreboding sky. Anders, standing a few feet away,
seems also in awe.
SOREN
Here can it truly be said . . .
Anders looks at him, Soren gazing off mystically.
SOREN (cont'd)
"Whither can I flee from thy presence?"
INT. OLSEN HOME - LIVING ROOM - DAY
Schlegel sits across from Regine. They are alone in the room.
SCHLEGEL
As I have told you before, Regine,
you were always my favorite pupil.
I wish to ask if you might favor me
with your marriage in hand - with
your hand in marriage. I know
there is someone else with possibly
similar interest. So I felt that I
have to speak now.
REGINE
I am very touched, Fritz, that you
would want me as your wife. There
is someone else, as you say, who
may have possible interest. So
please forgive me if I take some
time, to think it all over.
SCHLEGEL
Of course. I understand fully.
And decide what is best for you.
I want that more than anything
else.
INT. LARS MATHIESEN RESTAURANT (COPENHAGEN) - NIGHT
Soren dines with Emil, other PATRONS in b.g.
SOREN
I'm going to move back in with my
brother at the house.
EMIL
I think that's good.
SOREN
We have never been very close.
(beat)
I'm going to write a book, Emil.
This came to me on the Jutland
moor, like the ten commandments to
Moses. It is called Either/Or.
EMIL
It's a good-sounding title.
SOREN
I have always loved those words,
either/or.
EMIL
What's it about?
SOREN
The importance of making a choice.
When my father died, I knew I must
choose the kind of life I'm to live.
I only regret that I didn't choose
while Father was still alive. I
shall regret that forever. So, I
am writing this book. Which is only
the beginning. I've been having a
flood of ideas. It's like a shower
bath, Emil. I've pulled the chain,
and ideas are pouring all over me.
EMIL
Good. Speaking of making a choice,
have you been to see Regine yet?
SOREN
No. Emil, I just got back today.
But you are right to ask the question.
Either/or. I must choose.
EXT. OLSEN MANSION - DAY
Regine stands near her front door with a GIRLFRIEND, 18.
They see Soren, with top hat and cane, walk toward them. He
has some sort of paper material tucked under his arm.
The girlfriend leaves as Soren walks up to Regine.
REGINE
Soren.
SOREN
Hello, Regine.
REGINE
When did you get back from Jutland?
SOREN
Yesterday.
REGINE
You must tell me all about it.
SOREN
I will. Shall we go inside?
REGINE
There is no one home.
Soren shows her the music sheets he has brought.
SOREN
I brought some music that I would
like you to play.
Regine seems unsure what to do.
INT. OLSEN MANSION - FOYER - DAY
Regine comes in the front door. Soren, removing his hat,
follows her in. Regine closes the door.
She looks at him shyly, then walks toward the living room.
Watching, Soren follows her.
INT. LIVING ROOM - DAY
Regine sits down at the piano, the music sheets before her.
Soren stands by the piano as Regine begins playing.
Soren watches her with adoring eyes as she plays.
Finally, to Regine's surprise in the middle of the piece,
Soren reaches over and takes the music sheets. He tosses
them aside.
SOREN
That's not what I'm here for.
Soren sits down beside her on the piano bench. He takes her
in his arms. They passionately kiss, till flustered Regine
pulls away from him.
As Regine gets up, Soren tries to hold on to her, and his
right hand or forearm lands on the left side of the keyboard,
producing a loud bass discordance. Soren rises, rattled.
SOREN (cont'd)
An ominous note.
Regine, breathing a bit heavily, backs away a few steps.
Soren looks at her awkwardly.
SOREN (cont'd)
I will leave. I will go see your
father. I will go see him right
now. Is that all right?
Regine nods "all right." Soren retrieves his hat from a
chair.
SOREN (cont'd)
I will go, then.
Regine, still regaining her composure, watches him leave.
INT. MINISTRY OF FINANCE - OLSEN'S OFFICE - DAY
Soren stands waiting as OLSEN'S SECRETARY, 30, comes out of
the inner office.
SECRETARY
You may go ahead in, sir.
Olsen has already come to the door.
OLSEN
Soren, how are you?
SOREN
Good afternoon, Councillor.
Soren and Olsen shake hands as Soren enters the inner office.
OLSEN
Good to see you. Have a seat.
SOREN
Thank you.
They both sit down.
OLSEN
What's on your mind?
SOREN
I went by to see Regine. There was
no one home with her, so I didn't
stay. I was there for, oh, no time
at all. But I told her I would come
to see you. She agreed, but she
didn't say yes or no with respect
to the reason I'm here. She had no
chance to, really - as I say, I was
there for, oh, no time at all.
OLSEN
And the reason you are here is . . .
SOREN
I would like to marry Regine. I
can provide for her well, through
my considerable inheritance. I've
been putting this off for too long,
regrettably so. That's why I'm
here. I would like to have talked
with her too, but . . .
OLSEN
You were there for no time at all.
Well then, let's do it properly.
Why don't you come see her this
evening?
INT. OLSEN MANSION - LIVING ROOM - NIGHT
Soren and Regine sit across from each other. They are alone
in the room.
REGINE
I should tell you, Soren, that I
have had one proposal.
SOREN
From whom? Oh, wait. I think I
know.
Soren pretends to be trying to remember the name, snapping
his fingers as if that would help.
SOREN (cont'd)
Fritz, uh - Fritz, Fritz . . .
REGINE
Schlegel. Stop being silly.
SOREN
Fritz Schlegel. Well, let Schlegel
be a parenthesis. I am the new
paragraph. To be read like a book.
Put Schlegel back on the shelf. I
love you, Regine. I wish to marry
you. Shall we become engaged?
REGINE
Yes. You don't know how I've waited.
Soren seems suddenly speechless.
INT. MINI'S CAFE - DAY
Soren and Regine put their hands side by side over the table,
to compare their gold engagement rings.
They raise their teacups in a toast, other PATRONS in b.g.
INT. THE ROYAL THEATER - NIGHT
Soren and Regine, sitting in box seats, laugh with the rest
of the AUDIENCE as some ACTORS chase and pummel each other
onstage.
Soren looks at Regine as she's laughing. There is love but
also sadness for some reason in his eyes.
EXT. A CARRIAGE - MOVING - DAY
COACHMAN #3 drives Soren and Regine along the road to
Frederiksberg Gardens.
Regine looks at Soren as he thoughtfully regards the scenery.
REGINE
Kiss me, Soren.
Soren takes her in his arms.
EXT. ON THE ROAD - DAY
As Soren and Regine kiss, a carriage passes the other way,
with a YOUNG COUPLE and MALE CHAPERONE aboard. They get a
kick out of Soren and Regine kissing.
INT. LUNO'S PRINTING SHOP - DAY
The printer BIANCO LUNO, 45, hands Soren the first elegantly
bound copy of Either/Or. Soren examines it with pride.
LUNO
Congratulations, sir. Not just on
the book. Your engagement.
SOREN
Oh. Thank you, I guess.
INT. PLEISCH'S TEAROOM - DAY
Andreas looks eagerly for something in "The Fatherland"
newspaper. With him at the table are Johannes and Julius,
other PATRONS in b.g.
ANDREAS
Here it is, lads.
(reads)
"A new literary comet has soared
into the Danish heavens. The book
is Either/Or, the author Soren
Kierkegaard."
INT. SCHLEGEL HOME - DAY
Schlegel reads the same article to his mother.
SCHLEGEL
(reads)
"One can only feel disgust for the
author, while admiring his talent."
Hear, hear.
INT. PLEISCH'S TEAROOM - DAY
Andreas and friends as before.
ANDREAS
(reads)
"Kierkegaard is a first-rate intellect
who scoffs at the whole human race."
EXT. FREDERIKSBERG GARDENS - DAY
Soren and Regine sit on the grass by one of the park's
canals. Park VISITORS move about in b.g.
Regine reads a copy of Either/Or, while Soren stares off,
musing.
Regine notes that Soren is paying no attention, and slyly
puts aside the book, which she clearly finds boring.
REGINE
What are you thinking about? . . .
Soren?
SOREN
I'm sorry. I was thinking.
REGINE
About what?
SOREN
Ahasuerus.
REGINE
Who?
SOREN
Ahasuerus. A man who was condemned
to wander the earth. Regine,
think of these three figures from
literature. Don Juan - he represents
pleasure. Faust - he represents
doubt. And Ahasuerus. That's me.
REGINE
What does he represent?
SOREN
Despair.
REGINE
Do I cause you to despair?
SOREN
Of course not. I despair in spite
of you, Regine.
Soren muses again.
SOREN (cont'd)
Only God can save all three. I
wish I had pen and paper.
EXT. KIERKEGAARD HOME (2 NYTORV) - DAY
PEOPLE walk past the house in the square.
INT. SOREN'S SECOND-FLOOR NYTORV QUARTERS - DAY
Soren writes at his stand-up desk, while secretary ISRAEL
LEVIN, 30, sits proofing handwritten pages.
Levin rises and brings a page to Soren.
LEVIN
Soren, this here. Did you mean
to say "comical"? It looks like
"camel."
SOREN
Do you see a hump on it?
LEVIN
No.
SOREN
Then it must be "comical."
As Levin goes back to sit down, Soren checks his pocket
watch. He sighs with frustration.
SOREN (cont'd)
I must suspend operations to take
my fiancee for a walk.
EXT. A STREET - DAY
Soren and Regine stroll together, arm-in-arm. Soren seems
preoccupied. PEOPLE pass in b.g.
REGINE
How much farther to go with your
new book, Soren?
SOREN
It'll be ready for the printer
before too long.
(taps his head)
And there's another one here still
waiting to start.
REGINE
Are you still thinking of going to
the seminary, for training as a
pastor?
SOREN
I don't have time to think about
anything.
INT. KIERKEGAARD HOME - DINING ROOM - DAY
Soren reads a book while he and Levin eat bouillon. The
housekeeper brings two glasses of sherry.
LEVIN
You do like bouillon, don't you,
Soren.
SOREN
Why do you say that?
LEVIN
It's what we have had for lunch for
ten days in a row.
SOREN
Then you are justified in assuming
that I like bouillon.
Soren goes back to reading.
LEVIN
Far be it from me to complain about
a free lunch. You know, Soren, I
hope you won't take offense, but
since you've been engaged you've
become a bit testy.
Soren looks somewhat surprised by the comment.
SOREN
Well tell me, Israel, why do you
think that is?
LEVIN
How should I know? Perhaps I
shouldn't have mentioned it.
SOREN
No, please, as my secretary your
observations are welcome. You've
noticed, you must have a theory.
LEVIN
I have a suspicion.
SOREN
What is it?
LEVIN
You don't really want to get married.
Am I right?
A pause, Soren with a thoughtful look.
SOREN
No, but you're close.
EXT. OLSEN MANSION - DAY (LATE AFTERNOON)
Soren walks Regine to her door. He seems downcast as she
regards him.
REGINE
What is wrong, Soren?
SOREN
I feel this is all a mistake.
REGINE
Why? Don't you love me?
SOREN
Oh yes. I always will. You will
be the love of my life.
REGINE
Then I don't understand.
SOREN
I can't make you happy. Or any
girl happy. I can never be happy
myself, except when I'm writing.
That is my calling. I know that
now.
REGINE
But I won't interfere, Soren.
SOREN
I'd be no kind of husband. You'd
be miserable. You wouldn't be able
to bear it.
REGINE
Let me be the judge of that. If
you can't be happy, then what does
it matter if I'm with you or not?
So for my sake, let me be with
you. I'll be willing to live in
a cupboard, while you write to
your heart's content.
EXT. FREDERIKSBERG GARDENS - DAY
Soren and Emil, walking, stop on a canal bridge.
SOREN
I knew, the moment she said yes,
that I had made a mistake. But
she doesn't understand.
EMIL
Well I don't understand either.
Do you?
SOREN
Yes. It's just hard to explain.
EMIL
Try. Explain it all to me now.
SOREN
God has cast a veto. He is against
this engagement.
EMIL
Why would God be against it?
SOREN
Because he has given me something
to do. I have found what is true
for me. Besides, I - I am not all
that well.
EMIL
What is wrong?
SOREN
Do I make her a widow in five or
ten years?
EMIL
Soren, you must get over this notion
that you're going to die young.
SOREN
Could I give her children who are
healthy and sound?
EMIL
Why not?
SOREN
There are times, Emil, when - Well,
I have never been very healthy.
EMIL
Soren -
SOREN
Anyway, you asked me to explain.
That's the best I can offer. The
thing is, she has to break the
engagement. For her reputation, it
has to be her. I cannot just drop
her. It has to be entirely her
choice.
EMIL
The importance of choice. So what
do you plan to do?
SOREN
Be an absolute cad, I suppose.
Till she can no longer take it.
INT. THE LUND TOWN HOUSE - NIGHT
Soren and Regine, as they enter the home, are greeted by
CHRISTIAN LUND, 40, a MAID closing the door.
SOREN
Regine, this is my brother-in-law
Christian Lund.
LUND
Please to meet you, Regine.
SOREN
He was married to my late sister
Nicoline. Now he's found a
wonderful second mother for his
children -
Christian's wife ANNA CATHERINE LUND, 45, joins them.
SOREN (cont'd)
This is Anna Catherine.
ANNA
(to Regine)
How do you do.
YOUNG HENRIK LUND, 13, appears beside Soren.
HENRIK
Hi, Uncle Soren.
Soren puts an arm around Henrik's shoulders.
SOREN
Henrik, you grow more every day.
What are you planning to be?
HENRIK
A doctor, Uncle Soren.
SOREN
Good for you.
INT. DINING ROOM - NIGHT
Soren and Regine dine with Lund, Anna, Henrik, and daughter
SOPHIE LUND, 11.
LUND
How is your new book going? Is it
finished?
SOREN
No. It keeps going and going.
ANNA CATHERINE
Does it have a title yet?
SOREN
Stages on Life's Way.
INT. LIVING ROOM - NIGHT
Soren and Regine sit together as Lund brings them two glasses
of sherry.
LUND
Here you go. We'll leave you two
to enjoy your sherry together.
REGINE
Thank you.
Lund leaves. Soren sips his sherry.
REGINE (cont'd)
The Lunds are a lovely family.
SOREN
Yes.
REGINE
What's wrong, Soren? You haven't
talked much tonight. The last time
we were together you didn't talk
much either.
SOREN
What shall we talk about?
REGINE
I don't know. It just isn't like
you not to talk very much.
SOREN
All right, let's talk about
Either/Or. You have read it?
REGINE
Yes. It wasn't easy, but I read it.
SOREN
So what do you think?
REGINE
Well it's very impressive, Soren.
There's a lot that I don't
understand, but then I -
SOREN
Well, let's talk about what you
do understand.
REGINE
Well, it's not easy, Soren, I -
SOREN
Let's make it easy, then. The
title is Either/Or. What is the
Either?
REGINE
The aesthetic life.
SOREN
Which is?
REGINE
Well, living for pleasure.
SOREN
Good. And what is the Or?
REGINE
The ethical life.
SOREN
Which is?
REGINE
Living for ethics.
SOREN
What does that mean? You said you
read the book.
REGINE
I'm sorry, Soren, I -
SOREN
It is choosing oneself. It is
knowing oneself as an individual,
and taking responsibility in the
world for that individual. That
is the ethical life. So either/or
means what?
REGINE
We must make a choice?
SOREN
Yes. So what do you think of it all?
REGINE
It's hard for me, Soren, to talk
about subjects like this. It -
SOREN
Very well, then, tell me this. How
much milk does it take to produce a
pound of butter?
INT. OLSEN MANSION - LIVING ROOM - DAY
Regine and her mother knit together. Mrs. Olsen notes
Regine's seeming sadness.
MRS. OLSEN
Is something wrong between you
and Soren?
REGINE
Yes.
MRS. OLSEN
What is it?
REGINE
I don't know. It's like he's
trying to drive me away. He said
we couldn't be happy. He says it's
his writing. But I think it's more
than that. He's trying to keep
something from me.
MRS. OLSEN
How do you know?
REGINE
I don't, Mama. The way he's been
brooding. Something bothers him.
It's like there's something in his
heart that he can't let out.
MRS. OLSEN
It sounds like melancholy. Depression.
Do you know who suffers from that?
REGINE
Who?
MRS. OLSEN
Your own father. Have you never
noticed?
REGINE
Well, I've seen his moods, yes.
I always just thought that, well,
there was something going on.
MRS. OLSEN
One day he seems all right, the
next day . . .
REGINE
Why do I have these depressed men
in my life? Fritz Schlegel is
depressed now too. What should I
do, Mama?
MRS. OLSEN
The same thing I do, Regine, if you
really love Soren. All you can do
is love him.
REGINE
I do, Mama. I love him so much.
EXT. A CARRIAGE - MOVING - DAY
Soren and Regine are driven by COACHMAN #4 along the road to
the Deer Park north of town. Soren sits slumped, looking
bored.
REGINE
Would you care to take me to the
opera tonight?
SOREN
No.
REGINE
Would you care to take me to the
Royal Theater then?
SOREN
No. I don't care to do anything.
Except to ride in this carriage,
and I will soon be tired of that.
Soren looks at her. She says nothing.
SOREN (cont'd)
I am tired of everything.
Soren keeps looking at her, and she keeps seemingly ignoring
him.
SOREN (cont'd)
Regine, I think you should break
off the engagement.
(no response)
Do it for your own sake.
(no response)
Can you hear me?
REGINE
Oh, I hear a demon talking, not you.
SOREN
A demon? Do you think I'm possessed?
REGINE
No, I didn't mean that. We all
have our demons, don't we? We
just can't let them get the best
of us.
Soren gazes at her, Regine looking calmly ahead.
SOREN
Coachman, turn around!
The coachman slows the carriage.
REGINE
But Soren, we're almost to the park.
SOREN
I know. If you're going to marry
me, you need to start learning now
how to deny yourself pleasure. You
are going to be living with demons.
EXT. KIERKEGAARD HOME - NIGHT (OCTOBER)
PEOPLE walking past No. 2 Nytorv wear winter clothing.
INT. SOREN'S NYTORV QUARTERS - NIGHT
Soren paces the floor. Stopping, he decisively steps
to his desk and starts writing.
INT. OLSENS' FRONT DOOR - DAY
The maid opens the door. Outside stands the Kierkegaard
servant Anders, who gives her an envelope.
ANDERS
A letter for Regine Olsen, from
Soren Kierkegaard.
MAID
Thank you.
INT. REGINE'S ROOM - DAY
Regine opens the envelope and removes a note. She sees
something else in the envelope and takes it out. It's her
engagement ring.
Regine reads the note.
SOREN (V.O.)
Dear Regine, What has to be done,
should be done and be done with.
Please forgive the fact that, while
I may be capable of something, I
could never be capable of making
you happy. Love, S.K.
EXT. A STREET - DAY
Regine runs down the street in the cold, as PASSERSBY
curiously watch.
EXT. NYTORV SQUARE - DAY
Regine runs through the square, as PEOPLE watch her, to the
Kierkegaard town house. She knocks on the door.
Across the square, Soren, walking toward the house, stops as
he sees Regine at the front door.
Soren watches as Anders opens the door, Regine speaks with
him, and Anders lets her in.
Soren turns and walks off in another direction.
INT. SOREN'S NYTORV QUARTERS - DAY
Regine writes a note. She puts it in an envelope, and leaves
it atop Soren's desk.
INT. CORRIDOR OUTSIDE SOREN'S QUARTERS - DAY
As Regine comes out of Soren's quarters, Anders is waiting.
REGINE
Be sure that he sees it, will you?
ANDERS
I will.
REGINE
Thank you.
Regine starts to go, then turns again to Anders.
REGINE (cont'd)
Anders, is anything wrong with
Soren? I think there's something
that he hasn't told me.
ANDERS
Nothing that I know of, madam. He
can be peculiar.
A beat. Regine turns to go.
EXT. STREET - DAY
Regine walks homeward, PEDESTRIANS passing.
As Regine walks past the corner of a building, she doesn't
see Soren, standing propped against the building near its
corner, watching her pass.
INT. SOREN'S NYTORV QUARTERS - DAY
Soren takes the envelope from the desk. He opens it and
reads the note inside.
REGINE (V.O.)
Soren, I know you have done this
because of a depressed state of
mind. Please, for the love of
Christ, do not leave me. Come
let me talk to you. Love always,
Regine.
After a moment, Anders looks in at the open door. Soren,
standing by the desk with note in hand, looks at Anders.
ANDERS
She asked me to be sure you saw
it, sir.
SOREN
Did she say anything else?
ANDERS
(beat)
She asked how you were, sir.
Anders leaves.
INT. FRONT DOOR OF THE BOESEN HOME - NIGHT
Emil answers the door. Soren stands outside in the cold.
Emil looks at him quizzically.
SOREN
Emil . . .
EMIL
Hello, Soren.
SOREN
Are you free this evening?
EMIL
Yes.
SOREN
Could we go to the opera or something?
I just need some company tonight.
Or I might go mad.
INT. OLSEN MANSION - LIVING ROOM - NIGHT
Olsen grimly leaves the room. He stops and looks back at
Regine, who sits weeping in the arms of Mrs. Olsen.
INT. OPERA HOUSE - NIGHT
Soren and Emil sit in a box at a performance of "Don
Giovanni." Onstage LEPORELLO sings "The Catalog Aria."
Emil casts glances at Soren, who looks abstracted.
EXT. OPERA HOUSE - NIGHT
Soren and Emil leave the opera house with others after the
performance. It is cold with light fog.
Olsen walks up to them.
OLSEN
Soren, may I have a word with you?
Emil nods politely to Olsen.
EMIL
(to Soren)
I will see you at Pleisch's.
Emil walks off. After a moment,
OLSEN
Regine told me that you returned
her engagement ring.
SOREN
Yes. I'm sorry. I told her, more or
less, the engagement was a mistake,
sir.
OLSEN
Any particular reason?
SOREN
I can't go into it all.
OLSEN
That complicated, is it?
(beat)
This is not easy for me. I am a
proud man. I beg you, don't break
off with her. She is devastated.
SOREN
I will talk with her, sir. But I
believe the matter is settled.
OLSEN
Tomorrow night, will you dine with
us? And talk with her afterwards?
Before you say it is settled?
SOREN
Of course.
INT. OLSEN MANSION - DINING ROOM - NIGHT
Soren dines with the Olsens, including Regine's sister
CORNELIA, 20, and brother JONAS, 19. There is an awkward
air, Regine scarcely looking up from her plate.
OLSEN
What are you writing now, Soren?
SOREN
About the leap of faith, by virtue
of the absurd. About becoming
a Christian.
OLSEN
"By virtue of the absurd"?
SOREN
The absurd is the paradox. God
becoming man. Is that not absurd?
Awkward silence. Regine looks miserable.
Soren notes that Regine's brother Jonas stares across the
table at him with a look of hatred.
INT. LIVING ROOM - NIGHT
Soren sits listening while Regine plays the piano. They are
alone in the room.
Finishing, Regine gets up from the piano and goes to sit
beside Soren. She waits for him to say something.
Soren cries. He leans forward, elbows on knees. Regine puts
a hand on his shoulder.
SOREN
Regine, I have done you such an
injustice.
REGINE
Soren . . .
SOREN
Fritz was all set to marry you, and
I interfered. For what?
Regine seems at a loss for words. Soren takes a moment to
regain his composure.
SOREN (cont'd)
You think you understand me, because
of my demons, as you put it.
REGINE
I have tried, Soren.
SOREN
Then try to understand this. It is
only when I'm working, producing,
that I have any semblance of
contentment. When I'm wrapped up
in thought, pen in hand, I forget
about suffering. I believe there
is a reason for this. It is what
God wants me to do, for the time
I'm allotted.
Soren rises to pace.
SOREN (cont'd)
And there's this . . . I'm a fairly
rich man, but I won't be for long.
You see, I intend only to write,
nothing else. What my father left
me should last me quite a few years.
But if I outlive my fortune, well,
I'll have to go find some work to put
food on the table. There isn't much
money, I'm afraid, in my kind of books.
Is that what you want for a future?
Regine rises and moves to him.
REGINE
I told you I would live in a cupboard.
SOREN
Regine, I'm sorry for the callous
way I've behaved lately. I didn't
know what else to do. I loved you
the first day I saw you. You were
only fifteen. So I waited. And
now . . . What greater sacrifice
could I make?
REGINE
Why? Is there something else,
Soren, that you haven't told me?
Is it just your writing?
SOREN
(beat)
There is nothing more I can tell
you.
REGINE
(beat)
That's it? You are giving me up.
Soren says nothing. Regine slips off his engagement ring and
hands it to him.
REGINE (cont'd)
Then you're free. I will never
forget you.
Regine kisses him, then turns and leaves the room.
INT. SOREN'S NYTORV QUARTERS - BEDROOM - NIGHT
Soren lies weeping in his bed.
INT. SOREN'S BEDROOM - DAY
Soren packs a trunk. Peter steps in.
PETER
Going somewhere, Soren?
SOREN
I am going to Berlin for a while.
PETER
Running away, are you?
SOREN
I will hear the lectures by Schelling.
See some theater. Brush up on my
German.
PETER
You have finished your new book?
SOREN
I will finish the book in Berlin.
Then I'll come home and publish it,
and then start another, and then
more after that.
PETER
That is all you plan to do, from
now on?
SOREN
That is all I plan to do. It's
my calling.
PETER
Suppose I go to her for you, Soren.
Suppose I explain to her that -
SOREN
If you do, I will shoot you, brother,
by God, I swear it.
PETER
(beat)
Well, you have disgraced yourself
in Copenhagen, with your treatment
of her. Perhaps it is best that
you go away for a while.
Peter walks out.
EXT. THE COPENHAGEN HARBOR - DAY
Soren, Emil, and Anders arrive at the quay in a carriage
driven by COACHMAN #5. It is cold.
Anders and the coachman take Soren's trunk from the carriage,
and head for the quay with it.
Soren and Emil still sit in the carriage. Soren gazes off,
Emil looking at him.
SOREN
This has been so hard. To have a
thorn in the flesh that prevents
ordinary relationships. And so
to choose instead to be - what?
Soren looks at Emil, who seems puzzled by Soren's train of
thought.
SOREN (cont'd)
Out of the ordinary.
A beat. Soren gives Emil a slap on the knee.
SOREN (cont'd)
Thank you for seeing me off, old
friend. No need to get out.
Soren gets out of the carriage.
EMIL
What do you mean, Soren, by a thorn
in the flesh?
SOREN
(beat)
Does it matter now?
Emil watches Soren move off.
Go to Part 3Back to beginning of script