CAST AND CREW
MAIN CAST
NICK KAMINSKY Kevin Anderson
JANE KESSLER Pamela Gidley
PAUL KESSLER Bill Pullman
LILLIAN ANDERSON Kim Novak
SHERIFF RICKER Graham Beckel
BARNARD RALSTON IV Zach Grenier
DR PARKER Thomas Kopache
MARY PARKER Catherine Hicks
NURSE/WHORE Anne Lange
MIKE Jack Wallace
MAIN CREW
Directed by Mike Figgis
Written by Mike Figgis
Produced by Eric Fellner
Co-producer Michael Flynn
Original Music by Mike Figgis
Non-original Music by Franz Liszt, from Liebestraum
Cinematography by Juan Ruiz Anchía
Film Editing by Martin Hunter
Post-production Supervisor Virginia Allan
Production Design by Waldemar Kalinowski
Costume Design by Sharon Simonaire
As the credits appear on black we hear the sound of a violent thunderstorm. The perspective is from inside a building. We hear voices.
VOICE 1
Goodnight. Have a good weekend, Mr Munsen.
VOICE 2
Thanks. You too. I'll lock up.
FADE UP ON:
INT. MUSIC STORE - NIGHT
We see a couple of grand pianos in half light. The shadow of a man comes into shot and he turns off lights. The camera starts to move and we see more of the music store. The man comes into shot and turns out the remaining lights by the counter. He walks to the doorway of an office and hesitates for a moment in the light coming from within before going inside.
Titles on black. The thunder and rain intensifies.
INT. OFFICE - NIGHT
The man's hands come into tight shot. He has a 78 record which he places on to a portable, stainless-steel phonograph. His hands shake as he places the needle on to the record. The music begins. It is Liebestraum by Earl Bostic. This is an early 1950s jazz version based on Liszt's melody.
The camera tilts up and just before we cut to a new angle we catch a glimpse of a woman in white on the other side of the room.
ANGLE
We see the man in shadow looking to camera. The woman in white walks into shot and spins. Tight shot on her feet in high heels as she hesitates and then begins walking deliberately towards the man. Tight shot on her hands as she begins unbuttoning her blouse. Tight shot of their feet as his two-tone shoes go between her high heels. Titles on black. The perspective of the storm changes to exterior.
EXT. STREET - NIGHT
An impressive four-storey cast-iron building fills the frame. The rain is very heavy. In the foreground a black period Cadillac comes to a halt.
TIGHT REVERSE ANGLE shows the driver to be in his mid-thirties with a moustache and a hat. He looks up at the building.
INT. OFFICE
The man and woman are making love against a desk. They tear at each other's clothes and he caresses her breasts.
EXT. STREET
The Cadillac drives out of shot and the camera slowly zooms in on the one lit window.
INT. OFFICE
The couple making love on the desk. As the camera pulls back we see that they are being reflected in a photograph of the cast-iron building.
EXT. REAR OF THE BUILDING
A large truck with the name 'Ralston' is parked. The Cadillac comes around the corner and stops. The headlights are switched off.
INT. OFFICE
The camera slowly zooms in on the phonograph, the record spinning.
The lovers reflected in the phonograph.
Zoom in tighter on the phonograph.
EXT. REAR OF BUILDING
The man in the hat walks towards the building through the rain. He opens a door and goes inside.
INT. BUILDING - FIRE STAIRS
The man in the hat climbs the stairs wearily and pauses by a large window. Outside a freight train is passing. He looks up and then exits frame. In the distance we can hear the sound of the record finishing. The camera zooms in on the train.
In black we hear the sound of lovemaking mixed with the sound of the phonograph-needle trapped in the play out groove of the record. A door opens slowly and we see into the office. On the far side are the lovers.
MAN
This is crazy.
WOMAN
Don't stop. Stay in me . come in me . tell me you love me . say it.
Close-up on the record spinning.
MAN
I love you.
WOMAN
Then make a baby in me.
Close-up of the woman's face. She screams. We hear a loud gunshot. Medium shot of the two of them as he takes a bullet hit in his back. A 78 record hits the tiled floor and shatters .Very tight shot of the record spinning. We hear the woman screaming . a second gunshot. Tight shot of her face as she is hit . One of her shoes drops to the tiled floor . Tight shot of the record spinning . Her hand pushes a pile of records off the desk and she falls across frame . The records fall and smash . The spinning record slows up and stops. We can read the label. Liebestraum by Earl Bostic and his orchestra on the King record label. We hear a third gunshot.
Fade to black. Silence for a moment and then the sound of a train in a tunnel.
TITLE: THIRTY YEARS LATER
INT. CARRIAGE - DAY
The train comes out of the tunnel and we see a man just waking from a sleep. This is Nick Kaminsky. He is in his early thirties, conservatively dressed in a suit. His tie is loosened. He is a good-looking man, but not in a conventional way. All around him are newspapers and pages of handwritten notes. The paper is the Sunday New York Times. There is an announcement from the Amtrack guard.
GUARD (V.O.)
Ladies and gentlemen, we will shortly be arriving in Elderstown. Next stop will be Elderstown. Passengers for Dearville, Rostock and Bellingham are requested .
Kaminsky begins tidying his papers.
EXT. HOSPITAL - AFTERNOON
A yellow cab pulls up in front of a large Gothic building. A sign tells us that this is the Ralston Memorial Hospital. Nick pays the cab driver and picks up his bags.
INT. HOSPITAL
Nick steps out of a lift and two nurses in nuns' habits smile at him. The camera tracks with him as he walks to a reception desk. A nurse looks up from her work.
NURSE
Can I help you?
NICK
I've come to see Mrs Anderson.
NURSE
Visiting time is not for another hour. Are you a relative?
NICK
I'm her son.
INT. WARD - AFTERNOON
Nick and the nurse come into the ward, which has ten beds. The camera tracks with Nick as he walks from bed to bed, stopping to look at the faces of the women, all of whom are sleeping. After the fourth he turns to the nurse.
NICK
Which one . which one is my mother?
The nurse points at a bed.
NURSE
That one . I'll be outside. Please don't disturb any of the patients.
CUT TO:
ANGLE
Nick walks into shot and looks down at his mother. He looks away and then back.
ANGLE. HIS POV
Her skin is very delicate, her hair is fine and prematurely grey. She is in her early fifties. She is clearly very ill, but still beautiful.
INT. DOCTOR'S OFFICE - AFTERNOON
Dr Parker is seated behind a large desk. A lean man wearing steel-rimmed glasses.
DR PARKER
Your mother is a very sick woman, Mr Anderson.
NICK
Kaminsky . my name is Kaminsky. My mother and I have different names.
Dr Parker looks at the file in front of him.
DR PARKER
Ah . yes . of course.
NICK
I'd like a private room for her.
Parker is a little uncomfortable.
DR PARKER
Mr Kaminsky . your mother has only the basic insurance. In fact . she's over her credit limit...
