The Brutalist
Executive Summary
Poster

Overview
Genres: Drama, Historical, Romance, Thriller, Family, Comedy, Mystery, War, Character Study
Setting: Late 1940s to early 1950s, Primarily set in the United States, including New York City, Philadelphia, and Doylestown, with flashbacks to Hungary and scenes in Venice, Italy.
Overview: The Brutalist follows László Toth, a Hungarian architect and refugee, as he navigates the challenges of starting anew in America after fleeing war-torn Europe. The story begins with László's harrowing journey to escape his past, marked by trauma and addiction. As he settles into his new life, he grapples with the emotional scars of separation from his wife, Erzsébet, and the struggles of adapting to a foreign culture. The narrative unfolds through László's interactions with family, including his supportive cousin Attila and his niece Zsófia, who also carries her own burdens. As László attempts to reclaim his identity through architecture, he faces professional setbacks and personal conflicts that test his resilience. The climax centers around a pivotal confrontation with the Van Buren family, leading to moments of self-discovery and redemption. Ultimately, the story culminates in a heartfelt reunion with Erzsébet, emphasizing the enduring power of love amidst adversity.
Themes: Redemption and Self-Discovery, Trauma and the Resilience of the Human Spirit, Love and Family, Immigration and Assimilation, Architecture as a Metaphor for Life
Conflict and Stakes: László's struggle to establish himself as an architect in America while dealing with the trauma of his past and the health issues of his wife, Erzsétbet, with the stakes being their family's future and well-being.
Overall Mood: Poignant and reflective, with moments of tension and hope.
Mood/Tone at Key Scenes:
- Scene 1: The opening montage sets a haunting and nostalgic tone, reflecting on the past and the emotional weight of László's journey.
Standout Features:
- Unique Hook: The story intertwines personal trauma with the broader immigrant experience, providing a poignant exploration of resilience.
- Plot Twist: The revelation of Erzsétbet's health issues and their impact on László's career and emotional state adds depth to the narrative.
- Distinctive Setting: The contrast between the bustling urban life of New York City and the serene yet haunting memories of Hungary enhances the emotional stakes.
- Innovative Ideas: The screenplay explores architectural themes as a metaphor for rebuilding one's life and identity.
Comparable Scripts:
- The Pianist
- Brooklyn
- The Immigrant
- A Tree Grows in Brooklyn
- The Book Thief
- The Kite Runner
- The Good Lord Bird
- The Nightingale
- The Help
Writing Style:
The screenplay exhibits a versatile and dynamic writing style, drawing inspiration from a wide range of acclaimed screenwriters. While the style shifts across scenes, there's a consistent thread of character-driven narratives that prioritize intense emotional depth and complex interpersonal dynamics. The dialogue is frequently sharp and witty, often used to reveal underlying tensions and conflicts, but also capable of poetic introspection and sparse, visually driven moments.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Noah Baumbach
Pass/Consider/Recommend
Recommend
Explanation: The screenplay 'The Brutalist' presents a compelling narrative that intricately weaves themes of trauma, identity, and resilience through the lives of its characters. The character arcs of László, Erzsébet, and Zsófia are well-developed, showcasing their struggles and growth against the backdrop of post-war America. The screenplay excels in its exploration of emotional depth and architectural symbolism, though it could benefit from tighter pacing in certain sections and clearer resolutions for some character arcs. Overall, it is a poignant and thought-provoking piece that resonates with its audience.
USP: 'The Brutalist' is a character-driven drama that explores the intersection of personal and professional lives, set against the backdrop of post-war Europe and America. Its unique blend of architectural detail, historical context, and deeply personal relationships sets it apart from traditional biopics, making it a compelling and thought-provoking story that will resonate with audiences interested in exploring the human condition through the lens of architectural design and the immigrant experience.
Market Analysis
Budget Estimate:$15-25 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in historical dramas, immigrant stories, and character-driven narratives.
Marketability: The screenplay's rich character development and emotional depth can attract a wide audience, especially those interested in historical and immigrant narratives.
The unique blend of personal and historical drama, along with themes of resilience and hope, can resonate with viewers and critics alike.
While it has strong themes and character arcs, the niche focus on immigrant experiences may limit broader appeal.
Profit Potential: Moderate to high, as the film could attract awards attention and resonate with audiences seeking meaningful stories, especially in the festival circuit.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a masterful blend of realism and poetic introspection. The screenplay uses a range of stylistic choices, shifting between stark, naturalistic dialogue revealing raw emotion and vulnerability (Scenes 4, 17, 48), and atmospheric, evocative descriptions emphasizing mood and internal conflict (Scenes 1, 18). Poetic voiceovers, often from Erzsébet, provide lyrical counterpoint to the gritty realism, enhancing the emotional weight of the characters' journeys (Scenes 2, 3). The directorial choices implied – contrasting visuals, emotional crescendos through music – further underscore the emotional depth and thematic complexity.
Best representation: Scene 1 - Struggle for Freedom. This scene is the best representation because it showcases the writer's signature blend of stylistic elements most effectively. The sparse, emotionally charged dialogue in Hungarian, the atmospheric descriptions, the implied directorial choices prioritizing mood and atmosphere, and the focus on internal conflict and psychological tension all combine to create a scene that is both powerful and deeply evocative. It sets the tone for the entire screenplay and perfectly encapsulates the writer's unique voice.
Memorable Lines:
- ERZSÉBET: I cried out in ecstasy to have news of you. Zsófia is with me though she is frail, strange and quite ill. (Scene 2)
- LÁSZLÓ: Everything we see that is ugly- stupid, cruel, and ugly. Everything is your fault. (Scene 40)
- ERZSÉBET: You egotistic scoundrel. There is NO REASON for me to be here. I am here for you! I could do my ridiculous job ANYWHERE! Do you think I went to university to write about lipsticks! Shame on you. (Scene 54)
- GORDON: A rose must remain with the sun and the rain Or its lovely promise won't come true To Each His Own, To Each His Own And my own is you- (Scene 19)
- Erzsébet: I’m proud of you. Make love to me tonight. (Scene 41)
Characters
László Toth:A Hungarian architect and refugee struggling with his past and the challenges of starting anew in America.
Erzsétbet:László's wife, who faces health issues and emotional turmoil while trying to support her family.
Zsófia:László and Erzsétbet's niece, who represents the younger generation and faces her own challenges in adapting to life in America.
Harry Lee Van Buren:A wealthy patron with a complex relationship with László, representing both opportunity and conflict.
Attila:László's cousin, who provides support but also highlights the struggles of immigrant life.
Gordon:A fellow refugee who shares in the struggles of displacement and addiction.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Silent Testimony | Intense, Intriguing, Suspenseful | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
2 - Struggle for Freedom | Anxious, Hopeful, Tense | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
3 - The Journey Begins | Somber, Reflective, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
4 - Reflections of Ugliness | Intense, Uncomfortable, Conflicted, Despondent | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - A Glimmer of Hope | Emotional, Intense, Reflective | 8.5 | 9 | 9 | 9 | 9 | 8 | 9 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
6 - A Place to Stay | Melancholic, Reflective, Informative | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
7 - A Kind Gesture in the Rain | Compassionate, Desperate, Resilient | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
8 - Desperate Measures | Serious, Reflective, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
9 - A Vision for the Library | Charming, Urgent, Informative | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 9 | 7 | 8 | 9 | 9 | 9 | 9 | 9 | |
10 - Arrival at the Van Buren Estate | Tense, Informative, Reflective | 8.2 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
11 - Budgeting the Study Renovation | Serious, Informative, Professional | 8.5 | 9 | 8 | 9 | 9 | 4 | 8 | 7 | 6 | 7 | 6 | 8 | 6 | 5 | 9 | 7 | 8 | 8 | 8 | |
12 - Dancing in the Shadows | Light-hearted, Playful, Awkward, Intimate | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 3 | 7 | 4 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
13 - Awkward Reflections | Tense, Awkward, Reflective | 8.2 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
14 - Crafting a Vision | Passionate, Reflective, Instructional | 8.5 | 9 | 8 | 8 | 8 | 6 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 6 | 7 | 8 | 8 | 9 | 9 | |
15 - Chaos on the Rooftop | Tense, Frantic, Dramatic | 8.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
16 - Confrontation in the Study | Tense, Confrontational, Defiant | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
17 - Fractured Trust | Tense, Confrontational, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
18 - Morning Struggles | Melancholic, Reflective, Tense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
19 - Dignity on the Beam | Tense, Confrontational, Casual, Playful | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | |
20 - Reconciliation at the Diner | Reflective, Regretful, Inquisitive | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
21 - A Night of Recklessness | Intense, Emotional, Chaotic | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
22 - A Dinner of Hope and Struggles | Emotional, Reflective, Informative | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
23 - Reflections in the Foyer | Reflective, Introspective, Emotional | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
24 - Twilight Tensions | Reflective, Hopeful, Emotional, Intimate | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - A New Opportunity | Tense, Reflective, Apologetic | 8.2 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
26 - Visions in Disarray | Philosophical, Reflective, Informative | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 6 | 3 | 6 | 4 | 6 | 6 | 6 | 9 | 8 | 8 | 7 | 7 | |
27 - Community Center Conflicts | Reflective, Serious, Hopeful | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
28 - Sketching Hope | Reflective, Hopeful, Introspective | 8.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 3 | 6 | 4 | 8 | 6 | 9 | 8 | 8 | 7 | 8 | 8 | |
29 - Design Tensions | Serious, Intriguing, Tense | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | |
30 - Struggling to Present | Tense, Anxious, Serious | 7.5 | 8 | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
31 - Building Trust: László's Vision for the Community | Serious, Reflective, Inspirational | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
32 - Echoes of Love | Nostalgic, Hopeful, Reflective, Emotional, Tense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
33 - A Heartfelt Reunion at 30th Street Station | Emotional, Hopeful, Anxious | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
34 - Tensions at the Dinner Table | Formal, Awkward, Enchanted, Light-hearted | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
35 - Tender Tensions | Emotional, Reflective, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 3 | 7 | 4 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
36 - A New Beginning | Emotional, Intimate, Reflective | 9.2 | 9 | 9 | 8 | 10 | 8 | 9 | 7 | 6 | 7 | 6 | 7 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
37 - An Awkward Encounter | Embarrassment, Joy, Tension | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
38 - A Tense Encounter | Light-hearted, Enigmatic, Flirtatious, Awkward | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 4 | 8 | 3 | 7 | 7 | 8 | 9 | 8.5 | 8 | 8 | 8 | |
39 - Confrontation in the Trailer | Anger, Tension, Conflict, Resolution | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
40 - Tensions in the Trenches | Tense, Confrontational, Defiant, Emotional | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
41 - Groundbreaking Tensions | Tense, Emotional, Hopeful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - Laughter by the Water | Joyful, Light-hearted, Humorous | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 6 | 3 | 6 | 2 | 6 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
43 - Tensions at the Water's Edge | Tense, Confrontational, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
44 - Departure and Aspirations | Serious, Concerned, Playful | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
45 - Reflections on Loss | Reflective, Emotional, Intimate, Nostalgic | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 6 | 3 | 7 | 6 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
46 - Contrasts of Faith and Catastrophe | Emotional, Reflective, Tense, Poignant, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
47 - Chaos and Consequences | Tense, Angry, Frustrated, Humiliated | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
48 - Breaking Point | Tense, Emotional, Resigned | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
49 - Tensions of Departure | Emotional, Tense, Reflective | 8.7 | 9 | 8 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
50 - Cultural Tensions in Carrara | Enchanting, Reflective, Tense | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
51 - Descent into Darkness | Tense, Disturbing, Intense, Confrontational | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 10 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
52 - Concrete Isolation | Melancholic, Reflective, Tense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
53 - Tensions at the Construction Site | Tense, Defiant, Harsh | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
54 - Turbulent Drive | Tense, Emotional, Confrontational, Regretful | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
55 - Night Terrors and Tenderness | Tense, Emotional, Frantic, Calm, Tragic | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
56 - From Love to Despair | Intense, Emotional, Desperate | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
57 - Dawn of Resilience | Emotional, Reflective, Intimate | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 3 | 7 | 7 | 8 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
58 - Confrontation at the Van Buren Estate | Tense, Accusatory, Confrontational, Emotional | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 10 | 8 | 10 | 10 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
59 - Tension at the Van Buren Estate | Tense, Panicked, Desperate, Bizarre | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
60 - A Tribute to Legacy | Heartbreaking, Reflective, Nostalgic, Respectful | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 7 | 4 | 6 | 7 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - Silent Testimony
BRADY CORBET + MONA FASTVOLD
FINAL SHOOTING DRAFT
MARCH 12, 2023
A black and white montage of architectural elements; a flurry
of shapes, curves, angles, and shadows.
INSERT TITLE:
OVERTURE
CUE: The sonic boom of a ship’s hull impacting against the
waves; each redundant crash gives way to a romantic
orchestral swell...
1 INT. INTERVIEW ROOM IN VAS COUNTY - MORNING LIGHT 1
NOTE: Ocean waves fight the diegetic audio for duration of
scene.
CLOSE ON -
A haunted and brutalized young woman, ZSÓFIA, is isolated in
the frame. A vast European landscape can be viewed through
the casement windows behind her.
BORDER OFFICER (O.S.)
(Hungarian)
Your escort is right outside. She
tells us that you are her niece.
Are you her niece? Is she your
aunt? Where is your mother? Is she
alive? Do you know? Do you
understand me when I speak? Do you
prefer English or Czech?
No response.
BORDER OFFICER (CONT'D)
If you are from Budapest as the
lady says, may you please state the
name and street number of your
former place of residence for the
record? There’s a pen and piece of
paper in front of you... If you
prefer not to speak to us, we
suggest you write it down along
with your family name, and we will
take it upon ourselves to try and
confirm this. Do you remember that
address?
No response.
BORDER OFFICER (CONT'D)
Is it possible the woman outside is
not related to you at all, but
simply an ally you made along the
way who is trying to help you? You
bear little resemblance to one
another. We will not punish her for
trying to help an innocent young
woman. We want to help you get
home. Your true home. What is your
true home? Help us to help you get
home.
CUE: DIEGETIC AUDIO FADES OUT...
ERZSÉBET (V.O.)
(Hungarian)
László, I am alive. Attila tells me
that you, too, are alive and en
route to him from Bremerhaven.
Rejoice!
CUE: Violins shriek.
CROSS DISSOLVE:
Ratings
Scene 2 - Struggle for Freedom
It’s dark but slowly our eyes adjust like a developing
photograph hung to dry from a chemical bath.
A SERIES OF ANGLES -
Guided by the ocean’s current beneath them; slumbering men,
women, and children rock back and forth in their bunk beds.
ERZSÉBET (V.O.)
(Hungarian)
I cried out in ecstasy to have news
of you. Zsófia is with me though
she is frail, strange and quite
ill. We anxiously await our being
repatriated, but recently she has
not been herself which has, in
turn, roused unnecessary suspicions
with local officials.
CLOSE, ULTRA-BOWED LENS ON -
LÁSZLÓ TOTH, malnourished with a badly broken nose. He has
the face of an emigrant.
A door opens off-screen and light pours in. Several bodies
wipe the frame. A fellow HUNGARIAN REFUGEE shakes LÁSZLÓ by
his shoulder. LÁSZLÓ slaps his hand in response, shooting
upwards violently.
HUNGARIAN REFUGEE
(Hungarian)
Documents...
LÁSZLÓ regains composure, wipes sleep from his eye. The light
blooming from off-screen is transcendent.
ERZSÉBET (V.O.)
(Hungarian)
Fortunately, a few Soviet boys have
taken a liking to us. They pity
your poor niece especially who has
grown fuller, even lovelier, since
you last set eyes on her. These
lonesome young servicemen are
ostensibly entranced by such a
radiant creature’s commitment to
absolute silence.
LÁSZLÓ searches for his things in a panic. He looks to the
man off-screen.
LÁSZLÓ
(Hungarian)
WHERE ARE MY THINGS?
HUNGARIAN REFUGEE (O.S.)
(Hungarian)
WHAT?
LÁSZLÓ
(Hungarian)
IT IS NOT AMUSING TO ME! WHERE IS
MY LUGGAGE?!
LÁSZLÓ pushes the man off-screen who breaks into a fit of
laughter.
HUNGARIAN REFUGEE
(Hungarian)
Oh, stop it! Don’t look at me that
way, old man! It’s tucked there
under the mattress!
LÁSZLÓ ducks down to find a large canvas bag and pulls it
out.
ERZSÉBET (V.O.)
(Hungarian)
The Soviets have helped us relocate
to a nearby shelter for displaced
persons near Vas. They encourage us
to “enjoy our freedoms,” but I am
reminded of Goethe; “None are more
hopelessly enslaved than those who
falsely believe themselves free!” I
make no mistake, we are not yet
free.
HUNGARIAN REFUGEE
(Hungarian)
Hurry László, or we’ll be last in
the queue.
LÁSZLÓ and the refugee fight their way through the crowded
space towards the increasingly overwhelming sunlight,
throwing off our camera’s white balance.
ERZSÉBET (V.O.)
(Hungarian)
You, like myself, must be
envisioning so many terribly awful,
awful things but it is better that
your thoughts not get the best of
you.
Ratings
Scene 3 - The Journey Begins
They squeeze through a narrow doorway and up three flights of
stairs.
ERZSÉBET (V.O.)
It is neither better, nor worse
than you might imagine. I have kept
myself mostly to myself. More
importantly, I have defended Zsófia
from unwanted advances.
The ferocious energy builds to a crescendo.
4 EXT. SHIP DECK - CONTINUOUS 4
The two men reach the top of the stairwell to the upper deck
where dozens of immigrants take their place.
ERZSÉBET (V.O.)
Below is the address I am told for
mail in Vas. Please write to me at
once when you have received this.
The camera whip-pans over and up to the Statue of Liberty at
a peculiar LOW-ANGLE.
ERZSÉBET (V.O.)
(Hungarian)
I am certain now that there is
nothing left for us here. Go to
America and I will follow you.
LÁSZLÓ and the man beside him squeeze each other by the arm.
ERZSÉBET (V.O.
Faithfully, Erzsébet.
CUE: Strings and tympany reach a climax.
INSERT TITLE:
PART ONE
THE ENIGMA OF ARRIVAL
1947-1952
5 INT. HIAS CENTER BASEMENT - NIGHT 5
TWO HIAS REPRESENTATIVES (Hebrew Immigrant Aid Society)
wearing unassuming dark coats and hats address a room crowded
with Jewish émigré wearing numbered cards around their necks.
One representative speaks in English, the other translates
simultaneously over the speech in Yiddish.
HIAS REPRESENTATIVE HIAS REPRESENTATIVE 2
(English) (Yiddish)
-for those of you who do not -for those of you who do not
speak English, please engage speak English, please engage
myself or any of my myself or any of my
colleagues located at the colleagues located at the
back so we may inform you back so we may inform you
about our orientation and about our orientation and
language programs which are language programs which are
provided in this very room - provided in this room - 425
425 Lafayette - remember that Lafayette - remember that
address. Additionally, address. Additionally,
classes and daily meetings classes and daily meetings
are held where many of you are held where many of you
will be staying tonight over will be staying tonight over
at the Hotel Marseilles at the Hotel Marseilles
located on 103rd and located on 103rd and
Broadway. Broadway.
It’s difficult to discern LÁSZLÓ amongst the other faces in
the crowd.
HIAS REPRESENTATIVE (CONT'D) HIAS REPRESENTATIVE 2 (CONT'D)
(English) (Yiddish)
And for those of you of which And for those of you of which
none of the aforementioned none of that applies and who
details apply and who are are immediately departing for
immediately departing for other destinations in the
other destinations in the morning, please see us about
morning, please see me about a $25 travel-aid.
your $25 travel-aid.
One HIAS REPRESENTATIVE holds up and demonstrates a travel
voucher.
HIAS REPRESENTATIVE (CONT'D)
These vouchers are redeemable for
both trains and participating bus
services.
CUE: Mournful solo piano plays over all of the following
until otherwise noted.
Ratings
Scene 4 - Reflections of Ugliness
LONG LENS ON -
A foghorn blows over a slow pan across a few girls talking
amongst themselves while vying for some local business.
7 INT. BROTHEL - LATER 7
A woman performs intense oral sex on the HUNGARIAN REFUGEE
who leans against an armoir in the background. In the
foreground, a PROSTITUTE knelt on the floor tries to arouse
LÁSZLÓ, though his penis remains flaccid in her grip.
PROSTITUTE
Don’t you think I’m beautiful?
LÁSZLÓ appears stoic, uncomfortable, or perhaps somewhat
conflicted.
LÁSZLÓ
I do-
PROSTITUTE
Which parts of me do you find most
beautiful? Is there a part of me
you would especially like to touch
or look at?
LÁSZLÓ
-all parts.
PROSTITUTE
(affects seduction)
Stop it. I don’t find all the parts
of you beautiful. There are some
parts of you which I like very
much.
HUNGARIAN REFUGEE (O.S.)
Fuck her!
LÁSZLÓ’s girl is annoyed at his friend’s outburst.
PROSTITUTE
Can you tell your friend to be
polite?
LÁSZLÓ shouts back in Hungarian.
LÁSZLÓ
(Hungarian)
Keep your mouth shut.
PROSTITUTE
Which parts do you find ugly?
She’s moved to LÁSZLÓ’s neck to try kissing him romantically.
Still, no response.
PROSTITUTE (CONT'D)
My breasts?
LÁSZLÓ
No, they are beautiful.
PROSTITUTE
My legs? Are they too thin?
LÁSZLÓ struggles to find the correct adjective in English.
LÁSZLÓ
You are- well-proportioned.
He squeezes her thighs below frame.
PROSTITUTE
Well-proportioned? Well, I think
that just made my day.
She presses harder now against him.
PROSTITUTE (CONT'D)
My arse; is that what you like? You
think it’s beautiful?
LÁSZLÓ
Very... It’s the space above your
brow for me which is the problem-
She stops, taken aback.
PROSTITUTE
What?
LÁSZLÓ
That’s something I do not like.
PROSTITUTE
(without affect)
Your face is ugly.
LÁSZLÓ
(despondent)
I know it is.
Ratings
Scene 5 - A Glimmer of Hope
The MADAME waits for LÁSZLÓ as he exits the room.
MADAME
We have boys if you prefer.
Brothers with dark skin but
handsome. We can call for them.
LÁSZLÓ
No, thank you.
MADAME
Stay awhile. We have a movie on
tonight.
LÁSZLÓ
Excuse me?
MADAME
We have a special movie on the
projector downstairs. Comes free of
charge with a glass of champagne.
9 INT. BROTHEL BASEMENT - MOMENTS LATER 9
A gramophone blasts classical music which fights the still
persistent non-diegetic solo piano.
LÁSZLÓ enters a makeshift home cinema holding a glass of
champagne where some silent pornography (circa 1930) is being
projected.
10 EXT. CHINATOWN - DAWN 10
LONG LENS ON -
LÁSZLÓ and the HUNGARIAN REFUGEE run for their lives to catch
a departing bus. The two drunks bang on its door and the bus
stops. They embrace each other like brothers and LÁSZLÓ steps
on-board leaving his friend behind him.
11 EXT. BUS - DAY 11
CUE: Stravinsky continues.
ULTRA-WIDE LOW ANGLE ON -
Asphalt rushes at us. The midday gloom hangs heavy.
A SERIES OF ANGLES ON -
- A sign reads, “WELCOME TO PHILADELPHIA - Enjoy Our Past,
Experience Our Future!”
- driving view of Philadelphia City Hall (constructed 1901)
- driving view of the Philadelphia Museum of Art (constructed
1928)
- driving view of the first International style skyscraper,
the Philadelphia Savings Fund Society building (constructed
1932)
- driving view of Pennsylvania Station, 30th Street
(constructed 1933)
12 INT. BUS - LATER 12
LÁSZLÓ rests his head against the frosted window.
LÁSZLÓ’S VIEW FROM BUS WINDOW -
A heavy snow comes down on LÁSZLÓ’s cousin, ATTILA, who
stands amongst a group of on-lookers awaiting visitors
expectedly.
13 EXT. BUS / DOWNTOWN PHILADELPHIA - MOMENTS LATER 13
ATTILA holds his blood relative in an intense embrace.
ATTILA
Cousin.
LÁSZLÓ
Cousin.
ATTILA
Erzsébet is alive.
LÁSZLÓ’s knees buckle, deeply moved.
LÁSZLÓ
What did you say?
ATTILA switches to Hungarian.
ATTILA
(Hungarian)
I have a letter from her - your
Erzsébet is alive and she is with
little Zsófia.
LÁSZLÓ lets out a deep emotional wail and holds his blood
relative tight in his arms.
Ratings
Scene 6 - A Place to Stay
TRACK WITH -
ATTILA and his young American wife, AUDREY, show LÁSZLÓ
around the shop. ATTILA rambles nervously.
ATTILA
It’s a combination of things. Most
popular is the cabinetry which we
do ourselves, custom-to-order. The
lamps too. Some pieces we’ve found
and restored. Audrey does the
displays.
LÁSZLÓ nods, still visibly moved by the news of his wife. Not
betraying much enthusiasm, he turns to AUDREY.
LÁSZLÓ
He speaks like an American from the
television now-
AUDREY
(demure, posh, defiant)
Well, we don’t have a television
but he’s been here since before I
was born and still doesn’t sound
like any American I’ve ever met.
ATTILA
Eight years ago, we tried opening
something similar in Manhattan but
we lasted just two months.
AUDREY
We couldn’t compete with the name
brands.
ATTILA
Newlyweds come in with an issue of
Better Homes and Gardens and say,
“We’d like that table next to the
perfume ad.”
He exhales demonstratively.
ATTILA (CONT'D)
We’d say to them, “well, we can
make you something like that.” And
they say, “no sir, we want exactly
that!” Turns out that we don’t like
New York at all. No charm, right
Audrey?
She nods.
ATTILA (CONT'D)
Every little urchin you come across
- seller, buyer, delivery boy - is
running a hustle.
ATTILA arrives at a door at the back, and sorts through a
ring of keys without looking at LÁSZLÓ.
AUDREY
I’m from Connecticut myself. Do you
know it?
Before LÁSZLÓ can respond...
ATTILA
Audrey, of course he doesn’t know
it. He just got here.
ATTILA opens the door and flips on a light. The bedroom set-
up is makeshift and austere.
ATTILA (CONT'D)
I cleared out some space for you in
the back. Audrey made you a bed.
There’s just the cot and the lamp
for now but feel free to take
anything you want from the
showroom.
LÁSZLÓ
That’s all I need.
Anxious and embarrassed, ATTILA continues on yammering.
ATTILA
For the employee restroom, you just
exit the front door, and walk
around back where I parked the car.
There’s a staircase there, it takes
you up to our apartment. If you
need anything just knock.
The three of them don’t bother stepping inside so ATTILA
shuts the door and leads them around the shop’s interior
perimeter.
AUDREY
You know, we know somebody, who can
take a look at your nose.
LÁSZLÓ
I thought- maybe no one would
notice.
LÁSZLÓ smiles a little, having tried to make a joke with
almost no inflection.
AUDREY
What happened, if you don’t mind my
asking?
ATTILA shoots her a look. LÁSZLÓ struggles a bit with the
language speaking slowly, methodically.
LÁSZLÓ
(anecdotal)
I jumped from a rail car. A few
moments later there was a loud
cracking sound so I thought I had
been shot in the head- but I had
merely run into the branch of a
tree. No one was running after me.
AUDREY and ATTILA aren’t sure how to respond.
LÁSZLÓ (CONT'D)
I take something for the pain but I
would like to have it looked at.
Thank you.
AUDREY
I’ll give Kenneth a call.
ATTILA puts his arm around LÁSZLÓ and guides him away from
AUDREY to an office area in the showroom’s back corner.
ATTILA
Come and take a seat at my desk.
ATTILA takes the boss’ chair. LÁSZLÓ sits across from him
like it’s a job interview.
ATTILA (CONT'D)
Is it smaller than you expected?
LÁSZLÓ
What?
ATTILA
The shop.
LÁSZLÓ
No, not at all. I had no
expectation.
LÁSZLÓ analyzes ATTILA’s business cards which read: MILLER &
SONS.
LÁSZLÓ (CONT'D)
Who is Miller?
ATTILA
I am Miller.
LÁSZLÓ
You are Molnár.
ATTILA
Not anymore.
LÁSZLÓ
No Miller, No Sons.
ATTILA
(shrugs)
Folks here like a family business-
ATTILA offers LÁSZLÓ a cigarette.
ATTILA (CONT'D)
So, what do you think?
LÁSZLÓ
Of the furniture?
ATTILA
Well, I meant of everything so far -
Philadelphia - but sure the pieces
on the floor also...
LÁSZLÓ
(blunt)
They are not so beautiful.
ATTILA looks a little hurt but saves face.
ATTILA
That’s what you’re here for,
Maestro.
ATTILA lights his cigarette.
ATTILA (CONT'D)
Next month, I can put you on the
payroll. You’re welcome to eat with
us upstairs on Sundays.
LÁSZLÓ
You and your wife have done quite
enough.
ATTILA
Don’t mention it.
LÁSZLÓ
No, I do mention- thank you,
Attila.
LÁSZLÓ motions to AUDREY.
LÁSZLÓ (CONT'D)
(Yiddish)
Gentile? (Goy?)
ATTILA nods.
ATTILA
She’s Catholic.
Corrects himself.
ATTILA (CONT'D)
We are Catholic.
15 INT. FURNITURE SHOWROOM - BACKROOM - NIGHT 15
CLOSE ON -
Under the glow of lamp light, ERZSÉBET’s letter in Hungarian
reads...
László, I am alive. Attila tells me that you, too, are alive
and en route to him from Bremerhaven. Rejoice! I cried out in
ecstasy to have news of you...
The note trembles in LÁSZLÓ’s withering hands. Off-screen, he
can be heard again weeping. He strokes the text lovingly and
murmurs its text to himself. He sets the note down and begins
sketching the first lines of an architectural drawing.
LÁSZLÓ
(murmurs)
Erzsébet...
CUE: Solo piano concludes.
FADE TO BLACK.
Ratings
Scene 7 - A Kind Gesture in the Rain
A new season has arrived. Pigeons are everywhere and rain
drizzles down on a long queue of impoverished families
waiting on line for food. We pan across to LÁSZLÓ who stands
solo amongst the families in line. His nose has healed
somewhat.
A man in uniform stands ahead of LÁSZLÓ playing “I Spy” with
his little boy. He will come to be known later as GORDON.
GORDON
It’s your turn now, William.
The boy, WILLIAM, has his eyes locked on LÁSZLÓ.
WILLIAM
I spy- with my eye- something-
blue.
GORDON turns around and regards LÁSZLÓ.
GORDON
Is it this gentleman’s coat?
LÁSZLÓ
He is clever- there is some blue in
it.
LÁSZLÓ grins in acknowledgement. A volunteer shouts out...
VOLUNTEER (O.S.)
Kitchen’s closed, folks! Get back
early tomorrow.
The crowd hollers with disappointment.
GORDON
Wait, hold on! I got a kid here!
The disgruntled VOLUNTEER shouts back.
VOLUNTEER
We’re fresh out! Come see me early
tomorrow and I’ll make sure he gets
a plate.
LÁSZLÓ joins in.
LÁSZLÓ
(shouts)
You must have a slice of bread-
he’s only a little boy!
VOLUNTEER
How many more times do you all want
me to say it?! There’s nothing left
here!
GORDON regards LÁSZLÓ.
GORDON
Thank you-
LÁSZLÓ
Will he be all right-?
GORDON
There’s somewhere else we can try
tonight.
LÁSZLÓ
Let him sleep tomorrow. I can be
here early to- hold a place.
Ratings
Scene 8 - Desperate Measures
LÁSZLÓ holds a leather strap for balance in a packed tram
car. He regards a woman’s purse in front of him. After a
moment, she exits.
LÁSZLÓ shifts around as a new group of pedestrians come
aboard. Two well-dressed businessmen enter and stand to his
left. The train begins to move. With each sharp turn, the
passengers lean with the train.
LÁSZLÓ’s left hand enters the business man’s coat pocket but
quickly recedes with nothing in its grasp. His expression is
grave, debased. He makes a decision and slowly re-positions
himself to the other side of the two men.
LÁSZLÓ
Excuse me.
He waits for the tram to make another sharp turn, and as it
does....
LÁSZLÓ’s right hand enters the businessman’s coat pocket. He
quickly pulls it back with something in his grip.
LÁSZLÓ hesitates to look down and see the fruit of his labor.
CLOSE ON -
He opens his hand to reveal a soiled tissue.
18 INT. THE CONGREGATION MIKVEH ISRAEL - LATER 18
LÁSZLÓ sits for a service, a kippah atop his crown.
CHAZZAN (O.S.)
(Hebrew)
We will hallow and adore You as the
sweet words of the assembly of the
holy Seraphim who thrice repeat
"holy" unto You, as it is written
by Your prophet: And they call one
to another and Say...
LÁSZLÓ
(Hebrew)
Holy, holy, holy is the L-rd of
hosts; the whole earth is full of
His glory.
19 INT. THE CONGREGATION MIKVEH ISRAEL - LATER 19
LONG LENS ON -
LÁSZLÓ approaches RABBI ZUNZ in a greeting processional.
LÁSZLÓ
Boker tov. Rabbi Zunz-?
RABBI ZUNZ
Yes?
LÁSZLÓ
(discreet)
My niece and wife- I have learned
the two are stuck at the Austrian
boundary-
RABBI ZUNZ understands.
RABBI ZUNZ
Wait not many minutes for me and we
can speak after. Mikveh Israel can
try and help but from here it is
very difficult, as you know-
LÁSZLÓ nods graciously and extends a hand in thanks.
20 INT./ EXT. WORKSHOP/ FOUNDRY - DAY 20
A SERIES OF ANGLES ON -
LÁSZLÓ’s meticulous process as he constructs a chaise lounge
and 2 tubular metal Bauhaus style chairs.
- Sparks illuminate LÁSZLÓ’s face as he presides over two men
welding a few pieces of metal together in a garage. ATTILA
assists them.
- LÁSZLÓ feverishly pencils a drawing.
- Pan up an elegant S-shaped plank of soft wood.
- Inside, with the precision of a tailor, LÁSZLÓ measures a
strip of leather for the chair back.
- ATTILA pulls the leather down, and the two stand back to
observe the object which appears somehow incomplete.
- Pan across other masterful drawings which are carelessly
strewn about.
The flow of work and ideas for a wide variety of different
objects appears infinite.
21 EXT. FURNITURE SHOWROOM - LATER 21
AUDREY observes LÁSZLÓ’s two finished chairs and a functional
utilitarian shelving unit in the shop front display. She
paces back and forth on the sidewalk.
AUDREY
Well, I’m not sure what to do with
them is all.
She bites her lip.
AUDREY (CONT'D)
What do you think I should pair
them with?
LÁSZLÓ
Leave it-
AUDREY
How?
LÁSZLÓ
Leave it like that.
AUDREY reaches a conclusion.
AUDREY
They look like tricycles.
LÁSZLÓ looks a little puzzled.
LÁSZLÓ
What’s that?
AUDREY
A bike for kids.
Ratings
Scene 9 - A Vision for the Library
LÁSZLÓ shaves himself with a straight blade. As he does, he
charmingly practices an embellished American accent in the
mirror.
LÁSZLÓ
(emphasizing his R’s)
Peter Piper picked a peck of
pickled peppers. Did Peter Piper
pick a peck of pickled peppers? If
Peter Piper picked a peck of
pickled peppers, where's the peck
of pickled peppers Peter Piper
picked?
23 EXT. FURNITURE SHOWROOM - MOMENTS LATER 23
LÁSZLÓ exits the bathroom with a towel around his neck and WE
TRACK with him down the sidewalk. When he reaches the front
of the building, as he rounds the corner, he bumps into
ATTILA who grabs him by the arm.
ATTILA
Get over here.
We follow behind them urgently...
ATTILA (CONT'D)
We have an important customer
inside; furnished him a two-story
office space downtown on the cheap
last year. He’s interested in us
doing some built-in work at a
residence.
24 INT. FURNITURE SHOWROOM - MOMENTS LATER 24
HARRY LEE VAN BUREN, 30s, handsome, smokes in an office chair
towards the back of the shop. ATTILA hurries back to his
desk. LÁSZLÓ, still holding a razor blade, follows behind
him.
ATTILA
Mr. Van Buren, this is my cousin,
László.
LÁSZLÓ nods.
HARRY LEE
Please - that’s what people call my
father. Call me Harry.
ATTILA
(to LÁSZLÓ)
Harry would like some shelving
units installed over at his
family’s property in Doylestown.
HARRY addresses the blade in LÁSZLÓ’s hand.
HARRY LEE
Sorry to interrupt.
HARRY LEE (CONT'D)
I hoped someone might follow me out
there to take a look at my father’s
study. My sister and I’d like to
surprise him by turning it into a
proper library.
LÁSZLÓ
How do you mean?
HARRY LEE
-place is in complete disarray; a
whole mess of books and paperwork
so I guess we’d just like some tall
shelves and cabinetry installed?
Maybe make him a ladder with little
wheels on it, you know, like you’d
see in a real library? He’s a
voracious reader.
ATTILA
We can make you something like
that. Let me have Audrey come down
to keep an eye on the place. I’ll
pull the van around.
HARRY LEE
Fantastic.
Ratings
Scene 10 - Arrival at the Van Buren Estate
ULTRA-WIDE LOW ANGLE ON -
Asphalt rushes at us. The road bends and curves.
26 EXT. ATTILA’S BEDFORD VAN - CONTINUOUS 26
In the front windshield’s reflection we view HARRY LEE’s
sports car as it speeds with thrilling abandon down the local
county roads.
ATTILA
They’ve got something like nine
hundred acres out here, I’m not
kidding. A few buildings downtown
too- one of them’s a department
store.
LÁSZLÓ
They pay you well?
ATTILA
On the last job, they paid okay.
They took on a lot of pieces
though. Kept adding to the order.
Even at a discount, it adds up...
ATTILA references HARRY LEE’s sports car.
ATTILA (CONT'D)
His old man got flush adapting
production techniques to expedite
the manufacturing of cargo ships
during the war.
ATTILA struggles to keep up in his van.
ATTILA (CONT'D)
(shouting at the window)
Christ, is this guy trying to shake
us? Does he think he’s in a drag
race? Come on, already!
27 EXT. VAN BUREN GATES - LATER 27
HARRY LEE opens a gate and waves them past.
HARRY LEE
(shouts)
Stay left until you see the main
house. You can park wherever you’d
like.
ATTILA turns his clumsy green Bedford through the front
gates.
28 EXT. VAN BUREN ESTATE - MOMENTS LATER 28
ANGLE ON -
The view of the striking estate framed by a tree-lined
driveway.
CUE: The score is ominous and it hums.
29 INT. VAN BUREN ESTATE - FOYER - MOMENTS LATER 29
We are tight on LÁSZLÓ as he moves through the house. He’s
led by his cousin and HARRY LEE. LÁSZLÓ takes note of various
modernist sculptures on pedestals around the entryway.
HARRY LEE
I do appreciate you coming out here
on such short notice, gentlemen.
Father’s away only until next
Friday so I was anxious to pin this
down.
ATTILA
It’s no inconvenience for us,
chief.
They turn a corner and ATTILA shoots a glance at LÁSZLÓ.
ATTILA (CONT'D)
It’s your lucky day too cause my
cousin here is a licensed
architect, and a specialist in
renovations... He’s even designed a
library before, back at home. I
mean, a whole city library.
HARRY LEE
What city is that?
LÁSZLÓ speaks...
LÁSZLÓ
Budapest.
HARRY LEE
(cheerful)
I see. Never been.
Ratings
Scene 11 - Budgeting the Study Renovation
HARRY LEE pushes a door open to reveal a dark, octagonal-
shaped study framed by heavy curtains drawn to cover the
floor-to-ceiling windows.
Only a small shaft of light is allowed in through the corbel
glass dome above. Hardbound books are stacked on and
scattered across Van Buren’s desk, floor space, and the
existing two meter high bookshelves.
HARRY LEE pulls a curtain aside flooding the room with light.
Particulate floats all around him.
HARRY LEE
Don’t mind the mess.
LÁSZLÓ and ATTILA observe the space.
HARRY LEE (CONT'D)
I’m thinking... Shelves up to the
ceiling, and some good reading
lamps. Perhaps some wall fixtures
that extend? Father always keeps
the curtains drawn.
LÁSZLÓ
-to protect the books from the
sunlight. We are south-facing here.
HARRY LEE
Sure.
ATTILA
What’s your budget?
HARRY LEE
What’s your estimate?
LÁSZLÓ
Depends on the materials.
HARRY LEE
Well, make it of reasonable
quality. Maybe a nice place for him
to sit and read, as well? A good
chair or bench for him against the
window?
LÁSZLÓ regards the stained-glass dome above. There is an ugly
diagonal crack across it.
LÁSZLÓ
Would you like us to replace that?
HARRY LEE
If there’s time, why not? A branch
fell on it during that nasty storm
last summer; a tropical depression
they called it.
HARRY LEE stops to think, arrives at a number...
HARRY LEE (CONT'D)
Keep it below six or seven hundred
dollars, can you? My sister and I
are splitting it. I don’t want any
unexpected add-ons.
ATTILA masks his enthusiasm.
ATTILA
Don’t worry, we’ll come in on-
budget. You want this all done by
next Friday, you said?
HARRY LEE
Thursday night, preferably. I can’t
be here during the week but the
staff can let you in, and if
anything comes up, have them ring
me at the office.
LÁSZLÓ
(firm)
To be finished on Thursday, we need
extra hands. Including materials
and glass, eight hundred dollars.
Ratings
Scene 12 - Dancing in the Shadows
CUE: Dinah Shore’s “Buttons and Bows” plays on the
gramophone.
LÁSZLÓ sits at a small kitchen table backed up against the
wall. The overhead lamp makes a dark shadow across his face.
He watches ATTILA who is wildly drunk, dancing with his tipsy
wife, AUDREY. He convincingly mouths the lyrics to “Buttons
and Bows” which makes AUDREY laugh.
ATTILA
Dance with us! Come on! Cut a rug.
LÁSZLÓ
No, thank you.
ATTILA pulls open his sweaty collar, grabs an apron, wrapping
it around his waist like a dress and continues mouthing
Dinah’s lyrics.
ATTILA
Don’t be a spoiled-sport!
LÁSZLÓ
(smiles)
I’m not sure what that is but no
thank you.
CUE: The track comes to an end.
ATTILA
(to Audrey)
Flip it for the other side-
ATTILA catches his breath.
ATTILA (CONT'D)
You should have seen him talking up
the price today! I was ready to
settle at 450.
LÁSZLÓ
I wasn’t doing that. I was just
telling him how much it will cost.
To AUDREY...
ATTILA
I thought he was about to blow it
for us!
To LÁSZLÓ...
ATTILA (CONT'D)
I did! I honestly did! I thought
you were going to completely blow
it but you held your ground. That’s
what makes you a professional.
LÁSZLÓ appears embarrassed.
LÁSZLÓ
Hopefully, it’s not only that-
ATTILA turns to AUDREY, playfully turning the screws on her.
ATTILA
You know, László’s bride was a goy,
too, when they met, but she
converted for him-
AUDREY rolls her eyes.
AUDREY
I should put a muzzle on you.
A new track comes on.
AUDREY (CONT'D)
Oh! This is my favorite.
ATTILA
Dance with her, László!
AUDREY looks a little embarrassed.
AUDREY
He doesn’t want to.
ATTILA
(drunk and antagonizing)
Don’t keep her waiting, cousin.
It’s her favorite song.
ATTILA’s tone has darkened the atmosphere. LÁSZLÓ finally
stands and approaches AUDREY.
HANDHELD ON -
LÁSZLÓ takes AUDREY by the waist and they sway back and
forth. There’s a palpable erotic tension.
AUDREY
You’re awfully skinny, aren’t you?
LÁSZLÓ nods, still swaying rhythmically.
ATTILA
See! It’s like riding a bike.
ATTILA wraps his arms around them both and the three sway and
sway.
AUDREY longs for LÁSZLÓ.
Ratings
Scene 13 - Awkward Reflections
ATTILA’s passed out on the bed.
The bathroom door is open. LÁSZLÓ is hunched over the bathtub
pissing into it. He sweats profusely.
A NEW ANGLE reveals AUDREY smoking a cigarette watching him.
AUDREY
(deadpan)
You missed the toilet.
LÁSZLÓ finishes and stumbles out.
LÁSZLÓ
What-
AUDREY
(murmurs)
Better than the carpet, I suppose.
BEAT.
AUDREY (CONT'D)
When do you expect your wife might
join you, Mr. Toth-? There isn’t
room for two in that storage space,
I’ll tell you.
LÁSZLÓ
I wish I knew, Audrey. Thank you
for the dinner.
An awkward beat passes between them.
AUDREY
Attila’s shown me some magazine
pictures of the projects you did at
your firm. You’re not what I
expected from what I read about
you.
He leans against the door frame, practically trying to crawl
out.
LÁSZLÓ
I’m not what I expected-
AUDREY
I’m sure you could get a job, a
better job, at a firm here.
LÁSZLÓ
I then-
He breathes.
LÁSZLÓ (CONT'D)
-would be working- for someone.
AUDREY
Better than sleeping in a storage
closet.
LONG BEAT. LÁSZLÓ understands.
LÁSZLÓ
I’ll look for somewhere else to
stay. Thank you again for the
dinner.
LÁSZLÓ opens the door and exits.
Ratings
Scene 14 - Crafting a Vision
ATTILA and LÁSZLÓ remove the existing Art Deco shelving units
from their place.
34 EXT. VAN BUREN ESTATE - DUSK 34
Next to a two meter tall pile of debris, ATTILA and LÁSZLÓ
craft new units for installation.
35 INT. VAN BUREN’S STUDY - EVENING 35
A SERIES OF ANGLES -
The room is empty. The walls are stripped. The curtains are
gone. Alone, LÁSZLÓ sweeps the floor clean with a broom. He
stops at the center and regards the space.
36 INT. VAN BUREN’S STUDY - NEW DAY 36
BIRDS-EYE VIEW ON-
LÁSZLÓ stands at the center of the room. He is surrounded by
a few HIRED MEN (one is recognizable from the Old City Church
Soup Kitchen, GORDON). Each of them are supporting a large
plywood plate.
LÁSZLÓ
One - two - three!
The men simultaneously lift the plates, standing them up to
completely enclose the room in an octagonal shape. At the
central point of action, it mimics a flower blooming.
The windows now sealed in darkness, save for the sole shaft
of light let through the stained-glass dome above.
CLOSE ON -
The rouge tinted light illuminates LÁSZLÓ’s expression as he
gazes up at it.
37 INT. VAN BUREN’S STUDY - NEW DAY 37
LÁSZLÓ speaks to GORDON and ATTILA.
LÁSZLÓ
Set each panel to 45°.
GORDON mimics LÁSZLÓ’s instruction.
GORDON
Like this?
LÁSZLÓ
Yes, that’s right. That looks
right, doesn’t it? The books shall
fan outwards, you see?
LÁSZLÓ demonstrates with his hands passionately.
LÁSZLÓ (CONT'D)
Like so.
ATTILA
All in the same direction?
LÁSZLÓ
The long panels, yes. The shelves
themselves, however, can vary in
height to accommodate the larger
volumes our client had been
stacking on the floor.
Ratings
Scene 15 - Chaos on the Rooftop
HANDHELD ON -
LÁSZLÓ, ATTILA, GORDON, and the other hired hands work on the
Victorian gabled roof above Van Buren’s study. Amongst a
cobweb of ropes and a makeshift pulley system, the men pull
the rope taut, painstakingly lifting the detached glass dome
from the roof of the study with a short crane arm.
LÁSZLÓ directs GORDON who, in turn, directs the rest of the
group.
LÁSZLÓ
Slowly, Gordon. One steady
movement.
GORDON
(shouts)
Slowly, boys!
The men operate the pulley system successfully lifting the
dome head from its place.
LÁSZLÓ
(mutters)
Left, Gordon. Left. And steady.
GORDON
(shouts)
All right, good! Now left. (Beat)
To the left!
One man manually pushes the base of the crane arm employing
excessive strength, and it suddenly swings out too fast,
hovering over the driveway.
GROUP
Hey, christ, watch out!
The group overcorrect the crane’s movement causing the dome
frame to swing back, gaining velocity, in their direction.
The dome hits the corner gutter hard, knocking out one large
panel from its frame.
ANGLE ON -
It shatters in the driveway below.
BACK TO -
LÁSZLÓ
No!
LÁSZLÓ scrambles across the shingled roof towards the dome
which is stuck at an awkward tilt on the southeast corner of
the mansion.
GORDON
(shouts)
I said to be careful, goddammit!
LÁSZLÓ
(shouts re: crane arm)
Get a hold of that thing!
The group is frozen, spooked. ATTILA calls out...
ATTILA
Everyone all right down there?
HIRED MAN
(defensive)
-the glass was already broken.
ANGLE ON -
LÁSZLÓ crawls on all fours to the very edge of the roof where
the dome frame is stuck.
ATTILA
(shouts)
CAREFUL, LÁSZLÓ!
LÁSZLÓ tries to dislodge the heavy dome frame which grinds
against the guttering.
LÁSZLÓ begins to kick at it over and over again. Its an
increasingly reckless gesture. Finally, after three kicks, he
successfully dislodges the dome from the gutter which causes
it to CRASH to the ground. He breathes heavy-
LÁSZLÓ
We have a piece of gutter to
replace now, as well!
Ratings
Scene 16 - Confrontation in the Study
STRAIGHT UP ON -
The men outside replace the stained-glass with a flat, clear
circular disk. The image recalls a solar eclipse.
BIRDS-EYE VIEW -
An intense spherical shaft of light illuminates the center of
the room. The bookshelves are now complete, remarkable for
their geometry. There is no furniture in the room apart from
a visually-arresting chaise lounge which LÁSZLÓ pushes into
the very midpoint of sunlight.
40 INT. VAN BUREN’S STUDY - DUSK 40
LÁSZLÓ and ATTILA pull protective linens from the painted
wall of shelves. Half the room is now filled with Van Buren’s
collection of precious tomes. Several modern lamps on
scissored extenders poke out in various directions.
41 EXT. VAN BUREN ESTATE - SAME TIME 41
GORDON picks up fragments of stained-glass from the driveway.
The massive dome frame is plunked down beside him.
After some time, the headlights of an automobile blind GORDON
from off-screen as he looks up...
42 INT. VAN BUREN’S STUDY - MOMENTS LATER 42
The esteemed and handsome, HARRISON LEE VAN BUREN SR.,
enters the room in a miserly fury. ATTILA and LÁSZLÓ stand
frozen, initially dumbfounded by the intrusion.
VAN BUREN
What’s this? What is all this? Who
has authorized you to come into my
home and tear everything apart?
ATTILA blinks.
VAN BUREN (CONT'D)
Who the hell are you?
ATTILA
Uh... Excuse us, sir. This was all
supposed to be a surprise.
(MORE)
ATTILA (CONT'D)
Your son, Harry, told us not to
expect you until tomorrow-
VAN BUREN
(shouting)
It is a Goddamned surprise! My
mother, an ailing woman, is sitting
outside on the driveway too
frightened to come inside!
ATTILA
We are sorry to have frightened
her.
VAN BUREN
-we brought her here for some peace
and respite only to discover a
strange Negro man roaming around
our property.
ATTILA
Sir, your son asked us here to redo
your study into a library.
VAN BUREN
A library?
VAN BUREN looks around.
VAN BUREN (CONT'D)
The room- it’s gutted.
ATTILA
We were just putting everything
back in its place.
VAN BUREN
You’ve turned it all inside out.
How the hell do you know its proper
place?
LÁSZLÓ finally interjects...
LÁSZLÓ
We have taken excellent care of
your things, Mr. Van Buren.
VAN BUREN turns to LÁSZLÓ with a daring expression, provoked
by his calm.
VAN BUREN
And who the hell are you?
LÁSZLÓ
László Toth-
ATTILA
László is a licensed architect. He
supervised the renovation. And I-
I’ve done business with your son
before. I have a furniture shop,
Miller and Son’s, down in
Kensington.
VAN BUREN stares, fixated on LÁSZLÓ. The two have an
immediate, adversarial connection.
LÁSZLÓ
May I show you around the space,
sir? Our work lamps aren’t doing
the work we’ve done here any
justice.
VAN BUREN
Your Negro is waiting for you
outside the gates so I suggest you
pack your things up and leave. I’ll
confirm all this with my son in the
morning. My mother is sick! She
needs to be let inside to sleep.
LÁSZLÓ
We are finished. That’s quite all
right.
CUE: A low rumble overtakes the soundtrack.
CROSS DISSOLVE:
Ratings
Scene 17 - Fractured Trust
LÁSZLÓ snores in a deep sleep, physically exhausted. After a
few moments, ATTILA shakes LÁSZLÓ awake.
ATTILA
Wake up.
LÁSZLÓ jolts up in fearful defense, but quickly re-gathers
himself.
ATTILA (CONT'D)
That’s a hell of a way to greet the
day.
ATTILA lights a cigarette on the edge of his cot.
ATTILA (CONT'D)
Harry Lee called.
LÁSZLÓ sits up against the wall, trying to maintain some
dignity though caught off-guard.
ATTILA (CONT'D)
He says he won’t pay.
LÁSZLÓ
For the materials?
ATTILA
(calm)
He says we damaged the property and
I’m lucky if he doesn’t take me to
court.
LÁSZLÓ doesn’t respond. ATTILA remains calm but his voice
quivers with emotion.
ATTILA (CONT'D)
You’ve got nothing to say to that?
What are you going to do about it?
ATTILA speaks for a moment in Hungarian.
ATTILA (CONT'D)
(Hungarian)
I take you into my home. Into my
place of business, László, and this
is how you thank me?
LÁSZLÓ is again silent.
ATTILA (CONT'D)
You run my clients out the door?
You make a pass at my wife? She
told me! Of course, she told me.
What did you expect?
Silence.
ATTILA (CONT'D)
Hell, what did I expect? You
couldn’t keep your hands to
yourself even when we were kids.
Listen up, I won’t tell Erzsi this
time. I know you’ve been through a
lot. That’s what I told Audrey,
too. I’m not going to hurt you, but
I can’t help you anymore either,
got it?
LÁSZLÓ breathes, defiant.
FADE TO BLACK.
Ratings
Scene 18 - Morning Struggles
Winter has come again. The bell tolls. HOLD, HOLD...
LÁSZLÓ (V.O.)
(in HUNGARIAN)
ERZSÉBET,
I CAN BE REACHED BY MAIL AT A NEW
ADDRESS... I WAIT FOR YOU. I WAIT
AND WAIT. DO YOU NEED MONEY? WHAT
DO YOU NEED?
YOURS, LÁSZLÓ.
45 INT. OLD CITY CHURCH - SAME 45
HOMELESS MEN sweep the floor of the shelter.
46 INT. OLD CITY CHURCH BASEMENT - SAME 46
The muffled ring of the bell... Homeless families in bunks
begin to rise from their beds.
ANGLE ON -
LÁSZLÓ wakes in a bunk clutching a duffle bag that contains
his few possessions. His beard has grown out.
ANGLE ON -
GORDON and his son sleep through the ruckus in the bunk
across from LÁSZLÓ.
LÁSZLÓ
Gordon-
GORDON stirs awake.
47 INT. OLD CITY CHURCH BASEMENT - MOMENTS LATER 47
GORDON is now dressed in functional garments for the day’s
work. He gently tries to wake his little boy who wants to
sleep some more.
GORDON
(whispers)
We got to go. I let you sleep in.
Time to get up.
A NUN approaches GORDON.
NUN
Has Mr. Toth already gone? I’d like
a word.
48 INT. OLD CITY CHURCH BASEMENT LAVATORIES - MOMENTS LATER 48
STEADICAM ON -
GORDON moves down the hallway and shoulders open the bathroom
door.
GORDON
László!
The door opens to reveal LÁSZLÓ fiddling to stuff a syringe
and some barbiturate powder back in its pouch.
LÁSZLÓ
It’s for my injury.
GORDON blinks.
GORDON
Sister Elizabeth is asking for you.
LÁSZLÓ
I will be right there.
GORDON nods to the junk.
GORDON
Do me a favor and hold off on that
until we punch out.
Ratings
Scene 19 - Dignity on the Beam
On a second-story high beam, LÁSZLÓ spots GORDON, pulling his
safety leash taut as GORDON leans to wrench several bolts
below frame. GORDON laughs wildly...
LÁSZLÓ
She asked me for my- participation.
GORDON
Like what? They want you to help
out-
LÁSZLÓ
I already help- out. She wants me
to attend the service on Sundays;
collect donations.
GORDON looks back at him, takes a break.
GORDON
And what did you say to her?
LÁSZLÓ
I said that I would think about it.
GORDON
That seems fair, no?
LÁSZLÓ shrugs.
LÁSZLÓ
I go to- somewhere else.
GORDON leans down again.
GORDON
Why not ask for a place to stay
wherever it is that you do go!?
LÁSZLÓ
I do not permit my people from home
to see me as a beggar. Never.
GORDON playfully sings, in retort.
GORDON
(sings)
A rose must remain with the sun and
the rain Or its lovely promise
won't come true
To Each His Own, To Each His Own
And my own is you-
CUE: To Each His Own by Eddy Howard overtakes the soundtrack.
LÁSZLÓ laughs.
GORDON (CONT'D)
Give me a few inches.
LÁSZLÓ cautiously releases six inches of rope. As he does, he
notices an conspicuous black Cadillac Towncar approaching the
yard.
50 EXT. CONSTRUCTION SITE - MOMENTS LATER 50
LÁSZLÓ shovels aggregate into a cement mixer. GORDON enters
from off-screen.
GORDON
(casual)
There’s a son of a bitch here to
see you.
LÁSZLÓ furrows his brow and looks beyond GORDON to see
HARRISON VAN BUREN SR. on approach from some distance.
VAN BUREN
László Toth! Is that you?!
VAN BUREN appears overjoyed, ecstatic. LÁSZLÓ courteously
stands to receive him, stoic.
VAN BUREN (CONT'D)
I’ve been looking for you!
LÁSZLÓ shares a dubious glance with GORDON.
VAN BUREN (CONT'D)
No wonder you couldn’t be found!
You’ve grown a beard!
LÁSZLÓ blinks.
LÁSZLÓ
What can I do for you, sir?
VAN BUREN catches his breath in the cold.
VAN BUREN
I’d like to take you for lunch.
LÁSZLÓ
We don’t break for another 2 hours.
VAN BUREN
Point out your manager. Let me
educate him.
Ratings
Scene 20 - Reconciliation at the Diner
A waitress pours coffee for the two of them and exits. VAN
BUREN pulls out an edition of LOOK Magazine placing it in
front of LÁSZLÓ.
VAN BUREN
Have you seen that?
LÁSZLÓ squints, shakes his head.
VAN BUREN (CONT'D)
Well, I can assure you that
everyone else has... Flip to page
19.
LÁSZLÓ handles the magazine like a foreign object.
VAN BUREN (CONT'D)
Where did you study?
LÁSZLÓ
(mutters)
Bauhaus in Dessau.
VAN BUREN
Bauhaus! How marvelous.
ULTRA-CLOSE ON -
A two-page spread on “HARRISON LEE VAN BUREN - THE FORWARD-
THINKER.”
The large black and white photograph depicts VAN BUREN seated
in LÁSZLÓ’s chaise lounge illuminated by the spherical window
above him.
A second smaller image depicts VAN BUREN standing against the
unusual, conceptual shelving units; books fan out around him.
VAN BUREN (O.S.) (CONT'D)
Read the caption below the
photographs.
The caption reads: “Here, Mr. Van Buren is pictured in his
striking, modern at-home-library; entirely suitable for the
forward-thinking man.”
CAMERA PANS TO NEXT BLOCK OF TEXT -
“He established the Van Buren Shipyards, which built Liberty
ships during World War II, after which he formed Van Buren
Aluminum and Van Buren Steel.
Van Buren is involved in various large-scale construction
projects such as civic centers and dams, and is invested in
real estate around the globe.”
BACK TO -
VAN BUREN who sips his coffee.
VAN BUREN (CONT'D)
So, what do you think?
LÁSZLÓ
Looks good.
VAN BUREN
Damn right, it does! Why didn’t you
defend yourself when I came after
you all like a bat out of hell? I
am ashamed of my behavior! I called
that American cousin of yours-
Corrects him.
LÁSZLÓ
Attila.
VAN BUREN
Yes, that’s right. First, I
apologized then lauded him with
praise, however, he quite honorably
redirected me to you!
VAN BUREN wags a finger at LÁSZLÓ.
VAN BUREN (CONT'D)
I’ve since done my homework...
VAN BUREN pulls out an open folder and places it in front of
LÁSZLÓ.
VAN BUREN (CONT'D)
These are yours, yes?
LÁSZLÓ leafs through the images in the folder and nods.
LÁSZLÓ
Yes.
VAN BUREN
All of them?
LÁSZLÓ
Yes.
LÁSZLÓ begins to tear up, emotional.
VAN BUREN
I’m sorry, have I upset you?
LÁSZLÓ
No. May I keep these?
VAN BUREN
Of course you may.
LÁSZLÓ
I didn’t realize these images were
still available, much less of any
consequence...
VAN BUREN
They are very artistic.
LÁSZLÓ
Better in the real life.
VAN BUREN
You could have elaborated a bit
more on your background! You didn’t
do yourself any favors back there.
LÁSZLÓ
It was difficult to interject
amidst all the shouting-
VAN BUREN smiles.
VAN BUREN
I am ashamed. Really, I am. I acted
a fool. My mother was dying - and
it’s not an excuse - but she died
that very weekend at the house.
LÁSZLÓ
I am sorry to hear-
VAN BUREN
Tell me - why is an accomplished
foreign architect working
construction in Philadelphia of all
places? What is that you’re working
on anyway? A bowling alley?!
LÁSZLÓ chooses his words carefully.
LÁSZLÓ
The Reich- rejected myself and my
colleagues for our type of work for
it was deemed not Germanic in-
character.
LÁSZLÓ exhales, gravely.
LÁSZLÓ (CONT'D)
I don’t wish to be rude but I only
have time for the coffee. You were
unprepared for what you saw. That
is understandable. I am glad you’ve
come to appreciate it.
VAN BUREN
I don’t just appreciate it Mr.
Toth; I cherish it.
VAN BUREN ignores LÁSZLÓ’s wish to leave.
VAN BUREN (CONT'D)
(waxes)
I hate surprises. My fatheaded son
should have known better, but
listen, I haven’t come here to
boast or to grieve, I’ve come to
pay you the monies you are owed.
VAN BUREN hands him an envelope for dramatic effect.
VAN BUREN (CONT'D)
For what it’s worth, it was not my
suggestion that you and partners
should not be paid. I only found
out about all that after the fact.
LÁSZLÓ
We damaged some guttering which we
planned to replace. There was a
misunderstanding.
VAN BUREN
Enough of that. Take the money.
LÁSZLÓ
(nods)
Thank you.
VAN BUREN
I’d stash that in your
undergarments or inside of a shoe.
LÁSZLÓ takes the envelope and starts to slide out of the
booth but VAN BUREN takes his hand.
VAN BUREN (CONT'D)
I’d like you to come and see it...
In the daylight.
LÁSZLÓ
I’ve seen it.
VAN BUREN
I’d like you to come and enjoy it,
rather.
LÁSZLÓ
All right.
VAN BUREN
Wonderful. I can send a car for you
on Sunday morning if you aren’t too
busy. Write me down your address?
LÁSZLÓ writes it down.
VAN BUREN (CONT'D)
I’ve found our conversation
persuasive and intellectually
stimulating.
LÁSZLÓ looks at him, incredulous.
Ratings
Scene 21 - A Night of Recklessness
ULTRA-BOWED LENS ON-
GORDON and LÁSZLÓ cheer on a raucous set. Their features are
wild and exaggerated like a George Grosz drawing.
53 INT. JAZZ BAR BATHROOM - LATER 53
SFX: Someone pounds on the door outside.
BIRD’S-EYE VIEW ON -
LÁSZLÓ and GORDON prep a spoon and dropper.
LÁSZLÓ
(shouts)
-going to be some minutes!
LÁSZLÓ, already very intoxicated...
LÁSZLÓ (CONT'D)
Have we been in here long?
GORDON
They can wait...
GORDON puts a leather pouch in his mouth and lets it unroll
to his chest.
GORDON (CONT'D)
(through gritted teeth)
Pull that out.
LÁSZLÓ pulls out an antiquated looking syringe.
LÁSZLÓ
Jesus, Gordon.
The coconspirators laugh, having a great time. GORDON spits
the pouch from his mouth and LÁSZLÓ extends the spoon to
GORDON.
54 INT. JAZZ BAR - LATER 54
CUE: The live music plays in ultra slow-motion.
LONG LENS ON -
The two of them are now accompanied by some attractive
looking strangers. A woman kisses at LÁSZLÓ’s neck but he
tries to focus on the music.
WE PAN DOWN to see GORDON blatantly fingering his new
girlfriend who sits on a bar stool.
BAR MANAGER (O.S.)
(shouting)
HEY! HEY! GET THE HELL OUT OF HERE!
LÁSZLÓ and GORDON are slow to respond.
BAR MANAGER (CONT'D)
(shouting)
Get the hell out or I’ll beat the
shit out of you two.
LÁSZLÓ comically vomits on himself where he stands.
BAR MANAGER (CONT'D)
OH, HOLY HELL. I’m gonna kill that
son of a bitch!
55 EXT. JAZZ BAR - MOMENTS LATER 55
The BAR MANAGER and a bouncer beat the hell out of LÁSZLÓ who
laughs madly. STEAM RISES from the sewer grates.
ANGLE ON -
The crack of LÁSZLÓ’s nose re-breaking.
LÁSZLÓ
My nose! Damn it.
56 EXT. OLD CITY CHURCH - MORNING 56
LÁSZLÓ exits, his face battered and nose swollen. He lights a
cigarette then after a beat, notices VAN BUREN’s Town Car
parked on the corner with the motor running.
57 INT. AUTOMOBILE - LATER 57
CLOSE ON -
LÁSZLÓ sits in the backseat of the Towncar taking in the
fresh country air through an open window. He tries to pull
himself together.
DRIVER (O.S.)
There’s a pressed shirt and jacket
hanging to your left, Mr. Toth.
58 INT. VAN BUREN ESTATE DINING ROOM - LATER 58
A Christmas party is in full-swing. LÁSZLÓ is shown into a
dining area where a group of thirty aristocrats have gathered
for pre-luncheon cocktails by one end of the table.
VAN BUREN
Ah! There you are! The man of the
hour!
LÁSZLÓ’s smashed face peers out of an oversized penguin suit.
VAN BUREN approaches him, concerned.
VAN BUREN (CONT'D)
(hushed)
What’s happened to your face?
LÁSZLÓ
Fell off a beam.
VAN BUREN’s son, HARRY LEE, comes up behind his father.
HARRY LEE
Everyone’s famished.
VAN BUREN
Harry, you remember each other,
don’t you?
HARRY LEE
I do, yes. Good afternoon.
LÁSZLÓ nods. HARRY LEE’s sister, MAGGIE LEE, comes up behind
her brother.
MAGGIE LEE
Daddy, the kitchen’s asking if we
could please go ahead and take our
seats.
VAN BUREN
This is Harry’s twin sister,
Maggie.
MAGGIE LEE
Hello, Mr. Toth. We love the
library.
LÁSZLÓ
Thank you.
VAN BUREN
(to the crowd)
All right, everyone, let’s eat.
Ratings
Scene 22 - A Dinner of Hope and Struggles
LÁSZLÓ, who looks a mess, sits in a corner chair between a
middle-aged couple, MICHAEL and MICHELLE HOFFMAN, and VAN
BUREN who now sits at the head of the table. VAN BUREN
brags...
VAN BUREN
He won’t tout his own
accomplishments but Mr. Toth’s work
is celebrated throughout much of
Western and Central Europe. There
have been many features about him
in the architecture journals if you
follow that sort of thing.
MICHAEL HOFFMAN
What was your focus?
LÁSZLÓ eats somewhat ravenously.
LÁSZLÓ
Theaters, synagogues- Restorations.
Some, quite unusual.
MICHELLE HOFFMAN
Are you married, Mr. Toth?
LÁSZLÓ stops eating. It pains him to speak of it.
LÁSZLÓ
Yes, but my wife, she- she is still
in Europe.
MICHELLE HOFFMAN
Why is that?
LÁSZLÓ
We were separated. Forcibly.
MICHAEL HOFFMAN
Where is it you come from, if you
don’t mind my asking? I can’t place
the accent.
LÁSZLÓ
The city of Budapest.
MICHAEL asides, explaining to his wife...
MICHAEL HOFFMAN
Ravaged during the war- just
terrible.
MICHELLE HOFFMAN
Oh my, what was it like, the war?
We hear some stories here that make
one’s toes curl.
LÁSZLÓ
I would not know where to begin,
Mrs. Hoffman.
MICHELLE HOFFMAN
Do you plan on returning to Europe?
LÁSZLÓ
She tries to come now, here, to
join me- but the situation is
difficult.
MICHAEL HOFFMAN
With Roosevelt gone now that should
make things easier.
LÁSZLÓ
He is gone, but everyone is still
frightened that people like me are
a threat to your national defense-
MICHELLE HOFFMAN
When you say ‘people,’ you mean
Jews? We’re Jewish.
MICHAEL HOFFMAN
(explains dryly)
Michelle converted.
LÁSZLÓ asides...
LÁSZLÓ
As did my Erzsébet. It required a
great deal of commitment and study,
and yet, few at home recognized her
for it.
LÁSZLÓ japes.
LÁSZLÓ (CONT'D)
A pity the National Socialists
couldn’t see it their way.
LÁSZLÓ shrugs off the trauma, as he returns to the track of
their dinner conversation.
LÁSZLÓ (CONT'D)
But not only Jewish. Foreign
people. I was fortunate to depart
from Bremerhaven when I did.
Truman’s order facilitated the
transfer of my group. Others were
not so lucky.
VAN BUREN finally joins in the conversation.
VAN BUREN
That sounds very painful, László.
We are terribly sorry for you.
Michael is my friend and attorney-
in that order.
He turns to MICHAEL.
VAN BUREN (CONT'D)
Michael, is this a process your
firm might help to expedite?
MICHAEL turns to LÁSZLÓ.
LÁSZLÓ
I’m afraid that it’s not so simple.
My wife cannot leave my niece
behind because she is young,
motherless, and very sick.
MICHAEL HOFFMAN
It’s just the two of them? I’d be
glad to make an inquiry on your
behalf. You know, there’s something
called The Displaced Persons Act
that’s recently gone into effect.
It will allow some 200,000 European
persons admission for permanent
residence. You can read about it in
the paper now.
VAN BUREN
He won’t boast but Michael’s firm
represents the office of the Vice
President.
LÁSZLÓ
-president?
VAN BUREN
Of the United States!
MICHAEL HOFFMAN
Come see me in our Philadelphia
office on Monday.
MICHAEL reaches into his pocket and hands LÁSZLÓ a business
card.
MICHAEL HOFFMAN (CONT'D)
Telephone this line, and my
assistant can arrange. She’ll tell
you what we’ll need you both to
provide.
MICHELLE places her hand on LÁSZLÓ’s.
MICHELLE HOFFMAN
Michael can help you.
MICHAEL nods, empathetic.
MICHAEL HOFFMAN
(Hebrew)
Bevakasha.
A SERVER pours wine in VAN BUREN’s glass.
VAN BUREN
(to SERVER)
We’ll take coffee in the study.
Ratings
Scene 23 - Reflections in the Foyer
CUE: The score broods then gives way to an elegiac piano
theme.
ULTRA-WIDE ANGLE ON -
The light is extraordinarily beautiful. It looks like a Saul
Leiter picture.
The aristocrats all chat amongst themselves sipping coffees
and cognac.
NEW ANGLE ON -
LÁSZLÓ and VAN BUREN are deep in-conversation sitting in two
chairs the main foyer whiles guests observe the library
nearby.
VAN BUREN
(longing, drunk lucidity)
I was married once and she gave me
two beautiful children.
Nevertheless, my mother Margaret
and the twins demanded my attention-
every minute of my scarce personal
time. Things became awkward between
my ex-wife and Margaret so we
separated amicably...
VAN BUREN lights a cigar. He might be drunk.
VAN BUREN (CONT'D)
Margaret raised me on her own in
Rochester. Just the two of us. Her
parents had disowned her for “a
child out of wedlock,” so she was
my only real family, other than the
twins later on in life, of
course...
VAN BUREN speaks rhythmically, hypnotically.
VAN BUREN (CONT'D)
I’ll tell you, shortly before they
died, my mother’s parents - I
hesitate to call them my
grandparents - they reached out to
Margaret and me after reading an
article on the reported success of
my first company.
VAN BUREN asides...
VAN BUREN (CONT'D)
In actual fact, we weren’t doing
all that well at the time and would
soon shutter our doors, but this
was not yet public knowledge.
VAN BUREN takes a sip of his drink.
VAN BUREN (CONT'D)
-you might have concluded from our
prior interactions, I am blunt, not
hyperbolic or particularly
sentimental, but my mother was
defenseless to their chumminess.
She argued that ‘they could very
well be sick or dying,” and perhaps
“they really needed the money...” I
didn’t like seeing Margaret, an
ordinarily pragmatic person,
reduced to such bromidic
assumptions but I agreed to meet
them in-person;
(MORE)
VAN BUREN (CONT'D)
in part, to appease her, as well as
to satisfy the curiosities of my
lineage.
A PARTY GUEST comes over and interjects...
PARTY GUEST
It’s very clever, isn’t it? The way
the space seems to envelop you.
VAN BUREN
I think so, yes.
PARTY GUEST
It reminds me of a short story I
read about a never-ending library,
a labyrinth. Are you working on
anything at present, Mr. Toth?
LÁSZLÓ
A bowling alley.
The PARTY GUEST furrows his brow.
VAN BUREN
Pardon me, but I was just in the
middle of telling our friend a
story.
PARTY GUEST
Oh, not at all. Excuse me.
The PARTY GUEST moves on.
LÁSZLÓ
You agreed to see them?
VAN BUREN nods.
VAN BUREN
We exchanged pleasantries over the
telephone and I offered to visit
them at their modest apartment
residence in a neighboring town.
VAN BUREN asides...
VAN BUREN (CONT'D)
I laughed to realize they’d been so
nearby all those years!
Back to the body of the story...
VAN BUREN (CONT'D)
On the drive over, I had time to
think and finally arrived at a
figure I felt comfortable offering
the two of them - seeing that they
were, whether I liked it or not,
our only living relatives...
(MORE)
VAN BUREN (CONT'D)
I was received hospitably so I
swiftly moved to explain that I had
made them out a cheque for the
amount of $25,000. When I handed it
over, they appeared relieved but
perhaps a little disappointed at
the figure. They were courteous and
thanked me, all the same.
VAN BUREN pauses for effect.
VAN BUREN (CONT'D)
I was quite uncomfortable but
before hurrying off I asked them a
question; “what will you do with
all that money?” They rambled on
about miracles or some such thing.
For a moment, everything in their
immediate line of view seemed
solvable, achievable! They would
finally be all right. What a
thoughtful grandson I was!
VAN BUREN smiles.
VAN BUREN (CONT'D)
Upon departure, before I had
reached the edge of their front
lawn, the two of them ran out after
me shouting! - “You’ve forgotten
your signature, Harrison!”
VAN BUREN exhales demonstratively.
VAN BUREN (CONT'D)
I summoned the courage to be frank
and speak to them as adults. I had
not forgotten, I said, but was
ultimately not compelled to sign
due to the blunder of their
response! If only they’d been sick
or dying as my mother had
previously suggested, how glad I
would have been to ease their
troubles - but they appeared
perfectly healthy to me!
VAN BUREN sighs.
VAN BUREN (CONT'D)
They took it as such a shock that
for a moment I thought that that
might kill them right there on the
front lawn - but the two just wept
and came apart like beggars... It
was all much more disturbing than
I’d imagined it in my head so on
the condition that they let
Margaret alone from then on, I
struck them a separate cheque for
the amount of $500 and signed.
BEAT.
VAN BUREN (CONT'D)
That is how much I loved my mother,
Mr. Toth. We did things for each
other!
LÁSZLÓ
(deadpan)
What could they expect after the
way they had treated you both.
VAN BUREN
Yes, yes, that’s exactly how I see
it.
LÁSZLÓ blinks.
VAN BUREN (CONT'D)
So, answer me one question; why
architecture?
LÁSZLÓ
Is it a test?
VAN BUREN
Not at all.
LÁSZLÓ smiles through the pain of his broken nose.
LÁSZLÓ
(matter-of-fact)
Nothing can be of its own
explanation– is there a better
description of a cube than that of
its construction? You know, some
years ago, in March, a stranger
knocked at the classroom door of
the university where I frequently
lectured. At once, all that was
familiar and important to us was
gone. We were too well-known at
home. I thought my reputation might
help to protect us but- it was the
opposite. There was no way to
remain anonymous; nowhere for my
family to go.
LÁSZLÓ sighs and changes course.
LÁSZLÓ (CONT'D)
There was a war on, and yet it is
my understanding that many of the
sites of my projects have survived
and are still there in the city.
He smiles again and continues, choosing his words carefully.
LÁSZLÓ (CONT'D)
When the terrible recollections of
what happened in Europe have ceased
to humiliate us, I expect them to
serve instead as a political
stimulus, sparking the upheavals
that so frequently occur in the
cycles of peoplehood.
(MORE)
LÁSZLÓ (CONT'D)
I already anticipate a communal
rhetoric of anger and fear; a whole
river of such frivolities may flow
un-dammed, but my buildings were
devised to endure such erosion of
the Danube’s shoreline.
VAN BUREN is intoxicated by LÁSZLÓ’s response.
VAN BUREN
What a poetic reply! You must have
been a beloved professor! I’ve said
it before but I do find our
conversations intellectually
stimulating.
WE PAN UP with VAN BUREN as he rises from his chair to
address the room.
VAN BUREN (CONT'D)
Everyone, take your brandy and join
me outside! I have a fantastic
surprise.
Ratings
Scene 24 - Twilight Tensions
WIDE ON -
Ghostly silhouettes march across a footbridge near the
estate.
MICHAEL HOFFMAN
Where in the hell are you taking
us, Harrison?! It’s freezing out
here.
MICHELLE HOFFMAN
(laughs)
Try doing this in heels, Michael!
VAN BUREN
Don’t be impatient! It isn’t far.
ULTRA-WIDE ON -
They march on for some time up a hillside, murmuring amongst
themselves.
NEW ANGLE ON -
The path finally opens to a majestic clearing. A large pond
reflects moonlight and the hillside hovering above it.
VAN BUREN stops, and turns to his guests. He catches his
breath. He is visibly intoxicated.
VAN BUREN (CONT'D)
As you all know, these last years
have been especially hard on Harry,
Maggie, and myself.
ANGLE ON -
HARRY and MAGGIE give each other a squeeze, a little
embarrassed.
MAGGIE LEE
Daddy, it’s very cold out here.
Shouldn’t we go back inside?
BACK TO -
VAN BUREN stumbles but regains composure.
VAN BUREN
Quiet for a moment, Maggie... I
brought you all here this evening,
not to glance over my shoulder
towards the past, but to invite you
to look forward with me towards the
future!
He points...
VAN BUREN (CONT'D)
On the other side of that hill is
Doylestown. It is on this site near
our own family plot that we plan to
build a center for the community in
honor of Margaret Lee Van Buren!
HARRY LEE looks distressed at the announcement.
MICHELLE HOFFMAN
Oh Harrison! How lovely!
The aristocrats clap a little. VAN BUREN continues...
VAN BUREN
This shall be a sacred enough space
that her soul might inhabit it! A
place for gathering, learning, and
reflection-
He places his hand on LÁSZLÓ’s shoulder.
VAN BUREN (CONT'D)
-and Mr. Toth, I want you to build
this for her, something boundless,
something new.
LÁSZLÓ blinks.
VAN BUREN (CONT'D)
It’s a shock to you I see! I’m
delighted! I thought you might see
it coming!
LÁSZLÓ
No-
VAN BUREN throws his arm around him and starts walking him
back in the direction they came.
VAN BUREN
It is no coincidence that fate
brought us together on the eve of
my mother’s death! I am good at
reading the signs.
LÁSZLÓ
I- I am not sure of what the
commission entails, sir.
VAN BUREN
We can discuss the details at home.
You’ll be well-compensated and
provided a place here on the
property to stay and work. Residing
here will allow you the time and
space to properly conceive of it.
Your family, should they arrive,
are welcome here, too. What do you
say?
LÁSZLÓ
I would like to draw something and
present it to you.
VAN BUREN
(changes gears)
You’d prefer to win the commission?
Fine, then do that. It’s cold.
Let’s return inside.
Ratings
Scene 25 - A New Opportunity
A grandfather clock ticks. The guests have gone. LÁSZLÓ waits
on a bench under a lamp near the front door. HARRY LEE and
MAGGIE LEE can be heard having a hushed argument somewhere in
the house.
LÁSZLÓ
(calls through the house)
Excuse me!
No response.
LÁSZLÓ (CONT'D)
I wonder if someone can take me to
the train station before it gets
too late!
HARRY LEE (O.S.)
(shouts back)
Just a moment please!
A SERVANT enters the foyer with the dirtied table cloth from
lunch. LÁSZLÓ approaches her in the hallway.
LÁSZLÓ
Excuse me, sorry. A driver brought
me here. I don’t recall his name-
She doesn’t speak English.
SERVANT
Sorry, sorry-
LÁSZLÓ
I need to get back. Can someone
possibly contact the man who
brought me here this afternoon?
SERVANT
Just a minute please...
HARRY LEE enters from behind.
HARRY LEE
Mr. Toth, I’m sorry to have kept
you waiting.
LÁSZLÓ turns to HARRY LEE.
HARRY LEE (CONT'D)
Harrison’s gone to bed but he
wishes you a good night.
Beat.
HARRY LEE (CONT'D)
Listen, I am terribly sorry for my
father’s theatrics. It must have
caught you off-guard-
LÁSZLÓ
(nervous)
That’s all right...
HARRY LEE
He often makes decisions without
consulting the rest of us.
LÁSZLÓ
I did not take any of it- to heart-
HARRY LEE
Oh, but you should. You should, you
see. My father would like us to
hire you.
It begins to set in for LÁSZLÓ that the offer might be
sincere.
LÁSZLÓ
(rambles)
-but I have no infrastructure here.
HARRY LEE
That’s why he’s asked me to oversee
and assist you in this endeavor.
LÁSZLÓ
I have no idea of the parameters.
HARRY LEE
Once I have distilled the essence
of father’s outburst I will try and
make some economic sense of it.
MAGGIE LEE enters.
MAGGIE LEE
We’ve quite a full house this
evening so I took the liberty of
making up a place for you in the
guest house. We can have your
things sent for in the morning.
63 INT. GUEST HOUSE - BEDROOM - DAY 63
SFX: Knock, knock, knock.
ANGLE ON -
The view of the estate from the guest house window.
NEW ANGLE ON -
LÁSZLÓ wakes in a new environment, fully clothed atop some
freshly ironed linens. Next to him, are all of his
belongings, fetched and delivered whilst he slept. He quickly
sorts through his bag to find his sketchbook.
SFX: Another round of rapping at the door...
Ratings
Scene 26 - Visions in Disarray
A SERVANT mutters something in the hallway then LÁSZLÓ cracks
the door to HARRISON’s sleeping chambers.
LÁSZLÓ (O.S.)
You rang for me, sir?
VAN BUREN (O.S.)
Come in, László! I’ve had a vision!
LÁSZLÓ enters with sketches in-hand.
LÁSZLÓ
I have some sketches, also-
something I have been working on
which might be applicable here, if
you care to look-
A NEW ANGLE reveals VAN BUREN, still in bed, an absolute
wreck. He wears a sleep mask over his eyes.
VAN BUREN
Stop! Stop! In a moment! My eyes
are bleary! Take a seat!
VAN BUREN sits up in bed and pushes the sleep mask up to his
forehead. He then drops something into a glass of water
causing it to fizz.
VAN BUREN (CONT'D)
Pardon my appearance, I’ll call for
breakfast. I have some carpenters
in the forehead causing a terrible
ringing in my ears so you must bear
with me-
LÁSZLÓ sits in a chair next to the bed.
LÁSZLÓ
I can come back-
VAN BUREN
Shh. Shh. Before I lose it. Dreams
slip away.
LÁSZLÓ laughs.
LÁSZLÓ
Yes, I know.
VAN BUREN speaks methodically.
VAN BUREN
Doylestown is beautiful but not a
cultural place, you know?
LÁSZLÓ
Sure.
VAN BUREN
But it could be. If there were an
auditorium, it could host a theater
festival.
LÁSZLÓ
Sure.
VAN BUREN
In the off-season, of course, the
local students could access it.
LÁSZLÓ
Yes.
VAN BUREN
And what do you think of a
gymnasium? I practiced wrestling as
a teenager and I have fond memories
of my mother accompanying me to
matches in the neighboring towns.
LÁSZLÓ
Perhaps a swimming pool?
VAN BUREN shuts this down.
VAN BUREN
I can’t swim.
LÁSZLÓ remains poker-faced.
LÁSZLÓ
And perhaps it’s too expensive-
VAN BUREN pats LÁSZLÓ’s chest affectionately.
VAN BUREN
(shudders)
Don’t talk to me about money.
Ratings
Scene 27 - Community Center Conflicts
MICHAEL HOFFMAN sits next to HARRY LEE red-lining a contract.
HARRY LEE
Don’t talk to him about money. I’ve
spoken to our friends at the Bucks
County Mayor’s office who are warm
to accessing local and state
funding opportunities, on behalf of
our project, if we are willing to
designate a “specific and
meaningful” component of the center
for Christian congregation.
LÁSZLÓ
It’s a community center for all
people. What do they want? A prayer
room?
HARRY LEE
I am under the impression they are
expecting something more specific
and meaningful than that for their
earmark. This, and pending their
approval of the overall proposal,
of course.
LÁSZLÓ laughs a bit then realizes HARRY LEE is serious about
this casual new addition.
LÁSZLÓ
An auditorium, a gymnasium, a
library-
HARRY LEE
(corrects)
Father described it as more of a
reading room for the public...
LÁSZLÓ doubles down.
LÁSZLÓ
-a library, and a chapel? It’s four
builds, not one.
HARRY LEE
It’s ambitious. Thought you’d like
that... I’ve put in a call to our
frequent contractor, Leslie
Woodrow. We first worked with
Leslie as one of our Ship
Engineering Officers but he’s
supervised several important
construction projects for us since-
including these offices. My father
is allocating a sum of 850,000
dollars for this project which to
me seems very reasonable, if not
exorbitant. If Leslie agrees to
come on-board, I’ll have him start
a budget for us right away.
MICHAEL HOFFMAN
This allocation of 850,000 is
inclusive of fees for yourself and
Leslie... Also, we’ve gone ahead
and made arrangements to start
securing you a license here in
Pennsylvania-
CUE: Mournful solo piano reprises over the following
sequence.
66 EXT. COUNTRY ROADS - AFTERNOON 66
LONG LENS ON -
LÁSZLÓ rides a bicycle into town.
LÁSZLÓ (V.O.)
(in HUNGARIAN)
Erzsébet,
I have become acquainted with an
influential American attorney who
says he can help you and Zsófia
with your situation.
67 INT. GUEST HOUSE - NIGHT 67
CLOSE ON -
LÁSZLÓ writes a letter to his wife.
LÁSZLÓ (V.O.)
Is there somewhere we might find a
photograph of you and Zsófia
pictured together?
68 EXT. DOYLESTOWN - AFTERNOON 68
LÁSZLÓ view as he would observe the community from his
bicycle.
- SCHOOL CHILDREN exit a YELLOW BUS in ULTRA SLOW-MOTION.
- A small family gather for a wedding photo outside of a
local church; St. Anthony’s.
- Some teens play American football in a local park in ULTRA
SLOW-MOTION.
LÁSZLÓ (V.O.)
Anything linking her to you? I have
reached out to colleagues who
sometimes attended parties at the
house. I am waiting on return.
Ratings
Scene 28 - Sketching Hope
The sunrise... LÁSZLÓ peacefully sketches the hillside as he
snacks on a healthful breakfast.
70 EXT. VISTA - MORNING 70
LÁSZLÓ walks the landscape’s perimeter counting each click as
he pushes along a Surveyor’s Wheel. GORDON takes notes beside
him.
LÁSZLÓ (V.O.)
Whomever comes to mind, write to
them and explain its urgency.
Anything tying she to you, and you
to me, can be of great assistance
to Mr. Hoffman. I have enclosed a
list of items and information
requested by his office. Please
fill out what you can of these
documents and return these
originals to me at once.
LÁSZLÓ
194, 195, 196, 197, 198....
LÁSZLÓ (V.O.)
Here: some good fortune may have
fallen upon me. In an unexpected
turn of events I have been offered
an intriguing opportunity; a second
chance.
LÁSZLÓ
204, 205, 206, 207...
LÁSZLÓ (V.O.)
I can feel you nearer to me now
than ever before.
LÁSZLÓ
213, 214, 215.
LÁSZLÓ looks out over Doylestown.
LÁSZLÓ (V.O.)
Your love, László
He begins a new calculation and begins to step off in a new
direction.
LÁSZLÓ
1,2,3,4,5,6,7,...
71 INT. VAN BUREN GUEST HOUSE / DRAWING ROOM - DAY 71
SFX: A bell chimes three times.
CLOSE ON -
“Margaret Lee Van Buren Center for Activity and Creation” is
scribbled crudely at the top of the coal sketch. The semi-
abstract drawing gives little indication of what the
recreation center will actually look like when fully-
realized. The illustration is more akin to a Jerry Hopper
lithograph than a traditional architectural drawing.
LÁSZLÓ removes the sheet of paper to reveal another modular
section of the structure, then a third, and fourth.
72 INT. VAN BUREN GUEST HOUSE / DRAWING ROOM - NIGHT 72
The living room has been transformed into a makeshift office
space. By the window stands a drawing table adjusted to
LÁSZLÓ’s height. Paper, wooden blocks, and other materials
are strewn about the room. The shades are removed from the
standing lamps for better luminance.
LÁSZLÓ stands hunched over the dining room table constructing
a detailed architectural model.
A SERIES OF ANGLES -
- The model: A trapezoidal structure, the centerpiece, sits
atop the small hill overlooking the lake and a miniature of
Doylestown on the other side.
- A cluster of buildings; sloping and irregular triangles
surround the trapezoid; together they form a perfect
rectangle.
- The sharp points of the model rooftops protrude out and up
towards the sky.
- LÁSZLÓ carefully finishes by placing a small bell tower
made of bent copper parallel to the model’s main structure.
Ratings
Scene 29 - Design Tensions
LÁSZLÓ and two servants awkwardly navigate the large-scale
model across the estate’s horizon line.
74 INT. VAN BUREN’S STUDY - LATER 74
LÁSZLÓ stands at the center of VAN BUREN’s study
demonstrating his finished model which takes up much of the
room. HARRY LEE, MAGGIE LEE and LESLIE WOODROW (heavy-set and
above-average in height) all observe, fascinated.
VAN BUREN sits behind them all getting a haircut leafing
through pages and pages of LÁSZLÓ’s drawings.
LÁSZLÓ
The total area is 648 Square
Meters, including a sizable
condensate system for harvesting
rainwater for the boilers below
grade.
LÁSZLÓ points, gathers himself.
LÁSZLÓ (CONT'D)
Narrow openings at the top, as you
see here and here, are skylights
that can also be viewed as
demarcations of units of space on
either side of the entrance hall.
Each unit is convertible and multi-
functional with removable panels
that hinge open and close. When
these rooms are combined they
support a total occupancy of 500
persons on each side. Bespoke
systems for seating and storage
allow for conference, gymnasium,
auditorium. These rooms of more
standard size are pre-cast
concrete. The chapel at the heart
of the building, however, is a
perfect sphere, like a grain silo,
so we’d cast on-site.
LÁSZLÓ stammers nervously.
LÁSZLÓ (CONT'D)
The main tower from the ground is
20 meters tall-
VAN BUREN swats his BARBER’s hand away, annoyed.
VAN BUREN
I can’t see!
HARRY clears his father’s vantage point.
VAN BUREN (CONT'D)
Harry, what do you think about the
gymnasium off to the side like
that? I had imagined it
differently.
HARRY LEE
It all looks like an army barracks.
Everyone waits for VAN BUREN’s reaction with bated breath.
VAN BUREN
Perhaps that’s because you never
enlisted, Harry. I think it’s all a
great surprise. Carry on, László.
LÁSZLÓ appears a bit insecure. He moves now to a different
model that demonstrates the chapel’s interior.
LÁSZLÓ
The Chapel’s interior is more
generous in its expression; the
vernacular concrete contrasted by
an altarpiece of marble from the
mountains of Carrara will serve as
the institute’s centerpiece.
LÁSZLÓ gestures to the next model.
LÁSZLÓ (CONT'D)
And see, let me demonstrate...
Morning, midday, dusk.
ULTRA CLOSE ON -
LÁSZLÓ turns on a small flashlight and holds it at a high
angle close to the model through three entry points of light,
MAGGIE LEE, HARRY LEE and VAN BUREN lean down to look inside.
The light forms a pattern on the floor.
LÁSZLÓ (CONT'D)
As the sun moves, east to west...
Located at the base of the towers,
wooden beams unite to form a symbol
of the cross upon the altarpiece.
MAGGIE LEE
Oh, how wonderful! The town is sure
to be over the moon when they see
you’ve kept faith and values at the
forefront of your design.
VAN BUREN
Extraordinary. Your grandmother
loved marble. Maggie will you call
for some coffee?
MAGGIE LEE
I think it’s beautiful, Mr. Toth.
She exits. VAN BUREN looks at HARRY LEE.
LESLIE points at the towers on the right and left.
LESLIE WOODROW
(scoffs)
What’s the height of those things?
Six or seven meters also? And did I
understand you correctly? 108
meters of surface area for the
facade?! That’s eleven square feet,
If we can afford these materials at
all, Mr. Van Buren, Sylacauga
Marble ships out of Talladega
County and that might be possible
if I manage to swing some favors
but I can’t make any promises.
LÁSZLÓ
Afford these materials? The
concrete is sturdy and cheap.
LESLIE speaks frankly.
LESLIE WOODROW
The concrete- it’s not very
attractive. Perhaps you’d like to
split the difference on materials?
LÁSZLÓ
Fortunately, the building’s
aesthetic is not yours to resolve,
Mr. Woodrow. And Sylacauga marble
is white like a sheet of paper;
it’s nothing. What I have here is
blue and grey with softer veining.
VAN BUREN
I prefer the Italian, I think. It’s
more suitable, no?
LESLIE WOODROW
I have to do some research but-
LÁSZLÓ
I know someone talented, an Italian
mason whom I have commissioned
before.
LESLIE is visibly frustrated.
VAN BUREN
There’s one detail before I forget;
the name. I’d like to place it
somewhere more visible. What do you
think?
LÁSZLÓ nods, lights a cigarette. MAGGIE LEE enters again
followed by two maids with trays of coffee.
MAGGIE LEE
(to the maids)
On the table over there.
MAGGIE LEE hands her father a cup and turns to LÁSZLÓ.
MAGGIE LEE (CONT'D)
Sugar?
LÁSZLÓ
Black.
LESLIE’s eyes widen.
LESLIE WOODROW
Sir, is this really what you
imagined? Am I missing something?
When Harry called, he described
this to me as a personal project.
If this is what we ultimately
settle on, something of this scale,
the timeline would need to be
considerably adjusted.
VAN BUREN
I’d rather be alive at 18% than
dead at the prime rate, Leslie.
VAN BUREN winks at LESLIE.
LÁSZLÓ
We will not exceed our allocation.
VAN BUREN
Harry, where are we in our
discussions with the Mayor’s
office?
HARRY LEE
They are waiting on us.
VAN BUREN
Push things along and see where we
land with them.
Ratings
Scene 30 - Struggling to Present
SFX: BANG, BANG, BANG at the door.
LÁSZLÓ and GORDON lie in the same bed, strung out. A needle
is still stuck in LÁSZLÓ’s arm. He unties his arm and rips
out the needle causing his arm to bleed all over the bed.
LÁSZLÓ
Shit.
SFX: BANG, BANG, BANG, again.
LÁSZLÓ shoots up in a panic. He looks over at GORDON.
LÁSZLÓ (CONT'D)
Get up.
LÁSZLÓ pulls off a pillow case and wraps it around his elbow.
LÁSZLÓ (CONT'D)
(shouts)
Coming!
76 EXT. GUEST HOUSE DOOR - MOMENTS LATER 76
LESLIE stands there impatient. After a beat, LÁSZLÓ opens the
door.
LÁSZLÓ
Morning Leslie.
LESLIE WOODROW
Don’t tell me you’re just now
getting up?
LÁSZLÓ
Two minutes, and I am ready.
LESLIE WOODROW
I’ll give you three if you use it
to rinse off.
LÁSZLÓ
Three.
LESLIE WOODROW
Let me inside so I can get the
model on the truck.
77 INT. MAYOR KINNEY’S OFFICE - AFTERNOON 77
LÁSZLÓ, LESLIE, and GORDON clumsily carry in the oversized
model before MAYOR KINNEY, HARRY LEE and a group of other
LOCAL OFFICIALS.
HARRY LEE
The Mayor hasn’t got all day,
Leslie.
MAYOR KINNEY
We’re fine, Harry! Will your father
be joining us, as well?
Turns to MAYOR KINNEY...
HARRY LEE
He’s overseas on business but he
sends his regards. This is a
project he’s very passionate about,
and a priority for us. He asked if
he could telephone you to talk
through it all tomorrow - at your
convenience, of course?
MAYOR KINNEY
Well, sure, Sylvia in my office can
set for just about any time
tomorrow afternoon.
HARRY LEE
It will have to be in the morning
due to the time difference.
MAYOR KINNEY
(sycophantic)
Morning then is fine- just fine.
HARRY LEE and LESLIE are doing most of the talking, trying to
cover for LÁSZLÓ and GORDON’s bad state.
HARRY LEE
They only need two minutes to set
this all up.
LESLIE WOODROW
We’ll get this set down and start
right away for ya.
The three men set the model on the table and it sadly bends
down over the sides.
LESLIE WOODROW (CONT'D)
You got a stool or something they
can use to extend?
MAYOR KINNEY
No.
LESLIE WOODROW
All right, then we’ll go ahead and
get started.
A small figurine falls from the base of the model. LÁSZLÓ
bends to the ground, sweating and catching his breath.
LÁSZLÓ
Apologies...
He puts the figurine back in place, uncharacteristically
loose-limbed.
MAYOR KINNEY
(re: model)
This is- different.
HARRY LEE
Very modern, yes.
MAYOR KINNEY
All right, well, walk us through
what you have in mind.
LÁSZLÓ exhales, pulls himself together.
Ratings
Scene 31 - Building Trust: László's Vision for the Community
LÁSZLÓ, in formal dress, makes a speech in front of a
scattered audience. Forty or so townspeople are in
attendance.
LÁSZLÓ
Construction phase alone will
create upwards of eighty local
jobs. Carpenters, painters- upwards
of one hundred and fifty upon
completion, at which point, the
facilities will need to be
permanently staffed.
A TOWNSPERSON interjects...
TOWNSPERSON (O.S.)
(calls out)
When are you going to answer the
questions in the box?
LÁSZLÓ pauses, thinks, chooses his words carefully so as not
to offend. He spots VAN BUREN in the crowd. VAN BUREN nods,
encouragingly.
LÁSZLÓ
Yes, I- I would like also to
address some of the written
concerns and comments which were
submitted to us anonymously ahead
of tonight’s discussion; questions
probing my personal background,
heritage, and ideological
persuasion, if you will.
LÁSZLÓ clears his throat.
LÁSZLÓ (CONT'D)
As a foreign person and newcomer to
Doylestown, I have observed your
community with a great interest.
Your town is not dissimilar to the
one where I myself was raised. Your
Christian church, not so different
from the temple of my youth. I see
your St. Anthony’s decaying facade.
Your school’s gymnasium too slight
for the size of its student body. I
see a community in need and this is
my only persuasion of relevance...
Mr. Van Buren, a generous patron
and practicing Protestant, and I-
will build a place where you will
be drawn to congregate and inspired
to worship. You may rest assured
that we will honor the traditions
of Doylestown long established
before I ever set foot here.
LÁSZLÓ pours himself a glass of water, takes a deliberate
sip.
LÁSZLÓ (CONT'D)
I am determined to know and draw
from your history and kneel upon
its shoulders. Where does the
structural fabric of a building
appear with greater clarity than in
the buildings of one’s forefathers?
To know and understand its nature,
I have analyzed the purposes for
which we build. I have examined
every function which appears and
determined its character. I have
made its character the basis for my
conception. I see the spiritual and
intellectual environment of your
town; The Margaret Lee Van Buren
Center for Creation and Activity,
will be its manifestation; a new
landmark. A landmark which
proclaims not only “I am new,” but,
“I am part of the new whole.”
A SECOND TOWNSPERSON speaks up...
TOWNSPERSON 2
Excuse me, Mr...?
LÁSZLÓ
Toth.
TOWNSPERSON 2
Mr. Toth, none of us here are
familiar with this type of model.
Can you take us through your plans
for the Recreation Center in
Layman’s terms? And yes; we are all
keen to see what you have in mind
for the chapel, especially.
LÁSZLÓ
I’ve had discussions with your
Father Graham which informed for me
the floor plan...
LÁSZLÓ looks at GORDON and LESLIE.
LÁSZLÓ (CONT'D)
Can you pass me the flashlight?
GORDON has it at the ready. LÁSZLÓ moves the piece of model
to an overhead projector and demonstrates.
LÁSZLÓ (CONT'D)
Here, we have the chapel interior.
A space suitable for 115 persons.
At dawn...
LÁSZLÓ shines the flashlight through the southeast facing
glass which casts a long Sign of the Cross onto the stark
marble altar piece.
LÁSZLÓ (CONT'D)
At sunset...
LÁSZLÓ shines a light down through the slits lined with
copper creating an enchanting glow. The audience is audibly
impressed.
PUSH IN ON VAN BUREN who is situated in the very back of the
room like a proud parent.
CUE: The score booms and swells... Tympany patterns.
79 79
Ratings
Scene 32 - Echoes of Love
TIMES OF DAY
Materials for the construction of the The Margaret Lee Van
Buren Center for Creation and Activity are prepared around
the globe.
A SERIES OF ANGLES -
- Over dramatic vistas, the sun sets.
- Steel is fabricated.
- Wood is cut and piled.
- Concrete is mixed.
- Chunks of marble are crudely sawn off in titanic fragments.
ERZSÉBET (V.O.)
(in HUNGARIAN)
László! It has taken some months to
obtain the items which Mr. Hoffman
requested since receiving your
letter. I was at first at a loss
but suddenly thought to contact our
upstairs neighbor in Buda, Mrs.
Horváth! She was able to provide me
with several family photographs
that clearly picture you, myself,
and Zsófia with her mother on our
wedding day!
(MORE)
ERZSÉBET (V.O.) (CONT'D)
The poor dear thought us dead all
these years so had kept them on her
mantle in memoriam. Zsófia could
have only been thirteen years of
age at the time but her face and
expression are unmistakable. I have
included all but one in case this
letter does not reach you. I will
keep it near my breast, our family
tree against my heart. László, does
this mean we might meet again soon?
Yours,
Erzsébet
The final image in the montage is a photograph of LÁSZLÓ and
ERZSÉBET’s wedding day. Their entire family is present. They
look beautiful and happy, frozen in time.
FADE IN TITLE:
INTERMISSION
5:00 - 0:00
A yearning, nostalgic piece for piano plays over the
photograph as a timer counts down from five minutes.
INSERT TITLE
OVER BLACK:
PART TWO
THE HARD CORE OF BEAUTY
1953-1960
Ratings
Scene 33 - A Heartfelt Reunion at 30th Street Station
LÁSZLÓ, MICHAEL and MICHELLE HOFFMAN, and MAGGIE LEE wait
with flowers and balloons at the end of the platform.
LÁSZLÓ is visibly nervous. He’s dressed up and shaved clean.
MICHELLE HOFFMAN
Right or left?
MICHAEL HOFFMAN
On the right.
MICHELLE HOFFMAN
Could they have walked past us?
MICHAEL HOFFMAN
My associate in New York confirmed
they made it on.
MAGGIE LEE
(points)
There at the end, some passengers
are still coming off.
LÁSZLÓ
I see Zsófia.
He shouts and starts to move. We track left.
LÁSZLÓ (CONT'D)
(shouting)
Zsófia!
MEDIUM ON -
TWO PASSENGERS awkwardly lift ERZSÉBET’s wheelchair down and
over the train steps.
PASSENGER
You got her?
The PASSENGER on the left nods.
ERZSÉBET
Thank you, gentlemen. We’ll send
someone for the luggage. Thank you.
LÁSZLÓ (O.S.)
(shouting from some
distance)
Zsófia!
CLOSE ON -
ZSÓFIA, a transcendent beauty, scans the platform and begins
pushing ERZSÉBET in a wheelchair along the platform.
WE TRACK RIGHT with ERZSÉBET in profile who begins to cry at
the sound of LÁSZLÓ’s voice. She’s older than the wedding
photo seen prior. Her face is agonized and gaunt but her
expression betrays some optimism.
TRACK LEFT with LÁSZLÓ as his brow furrows with concern. THE
CAMERA CONTINUES TO SWING LEFT with LÁSZLÓ until they share
the frame. He bends to his wife.
LÁSZLÓ (CONT'D)
(Hungarian)
What’s happened?
ERZSÉBET smiles through her tears.
ERZSÉBET
(Hungarian)
I’m sorry I didn’t tell you.
LÁSZLÓ
(Hungarian)
What happened?
ERZSÉBET
(Hungarian)
It might not be permanent-
LÁSZLÓ
(Hungarian)
Someone hurt you?
She cries, shakes her head.
ERZSÉBET
(Hungarian)
It’s osteoporosis from the famine-
He embraces her madly, kisses her, weeps.
ERZSÉBET (CONT'D)
(cries)
I can dye my hair. I know it’s
ugly.
LÁSZLÓ
Shh.
ERZSÉBET
(Hungarian)
Where’s Attila?
He switches to English.
LÁSZLÓ
I didn’t want him to be
disappointed if for any reason you
were delayed.
He looks up at ZSÓFIA and bounces up to embrace her.
LÁSZLÓ (CONT'D)
(Hungarian)
Zsófia, dear.
He reverts again to English.
LÁSZLÓ (CONT'D)
Welcome to America.
Ratings
Scene 34 - Tensions at the Dinner Table
LÁSZLÓ, MICHAEL and MICHELLE HOFFMAN, MAGGIE LEE, and HARRY
LEE all take their seats around VAN BUREN who settles at the
head of the table. ERZSÉBET and ZSÓFIA hold court. Everyone
appears rightfully enchanted.
VAN BUREN
How wonderful it is to finally make
your acquaintance!
(MORE)
VAN BUREN (CONT'D)
I admit there was a period of time
when we thought he had made you up!
Isn’t it fascinating to meet the
significant others of great artists
and thinkers?
ERZSÉBET
Thank you for taking care of my
László.
VAN BUREN
As persons of unique privilege, I
have always thought that it is our
duty to nurture the defining
talents of our epoch. I possess no
such talent whatsoever! Truth be
told, I am terribly emulous of
individuals like him.
ERZSÉBET
That mustn’t be true, Mr. Van
Buren. It seems you’ve done quite
all right for yourself.
HARRY LEE
Father is digging for compliments.
Don’t indulge him.
Beat.
ERZSÉBET
The property is beautiful.
MAGGIE LEE
Isn’t it?
VAN BUREN
Erzsébet- pardon me, am I
pronouncing that correctly?
ERZSÉBET
Oh, that’s fine, just fine. Feel
free to call me Elizabeth if you
prefer it.
VAN BUREN
Your English is impressive.
ERZSÉBET
Thank you. I attended University in
England!
VAN BUREN
Where?
ERZSÉBET
Oxford to study English. I returned
home for Communications.
VAN BUREN
Did you do anything with it?
ERZSÉBET
Oh yes. I wrote for a popular
national paper at home; Magyar
Nemzet.
VAN BUREN
A journalist?
HARRY LEE
Cultural?
ERZSÉBET
Foreign affairs.
ERZSÉBET turns to LÁSZLÓ.
ERZSÉBET (CONT'D)
Haven’t you told them anything
about me?
ERZSÉBET sees that LÁSZLÓ doesn’t appreciate the joke.
CLOSE ON -
She squeezes LÁSZLÓ’s hand.
BACK TO -
VAN BUREN
Perhaps you can help your poor
husband to sound less like he
shines shoes for a wage.
She smiles but doesn’t like the joke.
VAN BUREN (CONT'D)
(to LÁSZLÓ)
How long have you been here now?
Four or five years, László?! No
more excuses.
VAN BUREN flips a small coin at LÁSZLÓ which LÁSZLÓ dodges.
VAN BUREN laughs.
VAN BUREN (CONT'D)
All right, I got carried away! Pass
that back to me, will you?
LÁSZLÓ passes it back. VAN BUREN holds it up demonstratively.
VAN BUREN (CONT'D)
A penny saved...
HARRY LEE addresses ZSÓFIA.
HARRY LEE
Sofia, is it?
LÁSZLÓ
(corrects)
Zsófia.
HARRY LEE
(pointedly)
Zs-ófia... Are you planning for
school?
No response. A palpable awkwardness washes over the room.
ERZSÉBET finally interjects...
ERZSÉBET
She is, yes, but we haven’t
explored her options.
HARRY LEE
Does she understand English?
ERZSÉBET
Oh yes. She understands very well.
ERZSÉBET chooses not to elaborate. They eat in silence.
VAN BUREN
(smiles)
“The woman behind the man.”
Ratings
Scene 35 - Tender Tensions
LÁSZLÓ pushes ERZSÉBET to the front door. As they are about
to leave, VAN BUREN halts their exit.
VAN BUREN
László, may I have a word?
ZSÓFIA takes over for LÁSZLÓ and pushes ERZSÉBET out the
door. The two men meet at the room’s most central point.
LÁSZLÓ
Yes, sir?
VAN BUREN
On Leslie’s recommendation, we
shared your plans with another
architect. Just to get a second
opinion - for safety reasons, as
well.
LÁSZLÓ
Who?
VAN BUREN
Someone we worked with on the
department store downtown. I forget
his name.
VAN BUREN passes him a file.
VAN BUREN (CONT'D)
Listen, they’re just little
adjustments, here and there. Places
they thought we could save a penny.
LÁSZLÓ
Leslie is a bastard.
VAN BUREN
He is. That’s what we pay him for.
83 INT. GUEST HOUSE - HALLWAY/ ZSÓFIA’S BEDROOM - NIGHT 83
LÁSZLÓ takes ZSÓFIA down a corridor and opens the door
revealing a rather childish arrangement he’s made on the bed.
LÁSZLÓ
(Hungarian)
I’m sorry. I remembered you as a
little girl.
ZSÓFIA touches his face and shoulder to comfort him and steps
inside.
LÁSZLÓ references a small framed picture of a woman.
LÁSZLÓ (CONT'D)
(Hungarian)
Look at your mother. My sister was
beautiful, wasn’t she? Even while
she was ill, she was so beautiful.
ZSÓFIA nods.
84 INT. GUEST HOUSE CORRIDOR - LATER 84
LÁSZLÓ rolls ERZSÉBET down the hall to their room. Inside, he
can heard struggling to lift her into bed.
LÁSZLÓ (O.S.)
1, 2, 3-
She laughs adoringly.
Ratings
Scene 36 - A New Beginning
ERZSÉBET and LÁSZLÓ lie catatonic in bed. It’s very dark.
ERZSÉBET
(Hungarian)
Are you angry?
Silence.
ERZSÉBET (CONT'D)
László, are you angry with me?
He replies in English, petulant.
LÁSZLÓ
If you’d like to start a row with
me, I might as well work out my
English-
She replies in English.
ERZSÉBET
Stop it. Your English is perfectly
all right. It was an unimaginative
joke he made about you shining
shoes.
LÁSZLÓ
Tomorrow, I’ll take you to see
someone. A specialist.
ERZSÉBET
Don’t be angry with me.
LÁSZLÓ sulks..
ERZSÉBET (CONT'D)
Do you not want to be with me
anymore?
LÁSZLÓ
Stop this nonsense.
ERZSÉBET
Do you think I look older?
LÁSZLÓ
We are older.
ERZSÉBET
Can’t you say anything kind to me?
LÁSZLÓ
I love you, you cow.
ERZSÉBET smiles and kisses him.
ERZSÉBET
(Hungarian, whispers)
You can touch me.
LÁSZLÓ
I don’t want to hurt you-
physically.
ERZSÉBET
You won’t... I had dreams- every
night, I dreamt I was with you.
She touches him under the sheets.
ERZSÉBET (CONT'D)
I know what you’ve done, László,
and it’s all right...
LÁSZLÓ
What are you talking about?
ERZSÉBET
(whispers)
László, I know. I know. I know
everything. You see, I became sick.
Very sick. I could hardly breathe.
I yearned to be with you and it
made me sick. I almost died.
Between life and death, I began
having fantasies about you but I
realized they were not fantasies at
all, but visions! I was with you.
All the time I was with you.
She licks her palm, jerks him off, whispers in his ear.
ERZSÉBET (CONT'D)
László, I know what you’ve done.
I’m not jealous because I was with
you the all the time. I know
everything that has happened to
you, and I am here now and I will
never leave you.
LÁSZLÓ breaks down. His voice cracks in heaving sobs.
LÁSZLÓ
Oh god! MY LOVE. MY LOVE! I CANNOT
BEAR IT!
ERZSÉBET
You can. Shh... You can. We have a
new life. A new language. We can
start again.
Ratings
Scene 37 - An Awkward Encounter
LÁSZLÓ walks down the corridor and opens the door to discover
ZSÓFIA guiding ERZSÉBET’s knee to her chest who lies nude in
the tub wearing a hair net. They both flush with
embarrassment at the sight of LÁSZLÓ. ERZSÉBET laughs as she
tries to cover up.
LÁSZLÓ
Sorry.
He quickly steps back the way he came.
ERZSÉBET (O.S.)
Maggie Lee lent me some hair
product!
87 INT. GUEST HOUSE - MOMENTS LATER 87
LÁSZLÓ takes a coffee in his kitchenette reviewing VAN
BUREN’s file. He furrows his brow.
ERZSÉBET (O.S.)
(calls out)
László, are you there?
He regards ZSÓFIA exercising her aunt in the bathtub through
the door ajar.
LÁSZLÓ
(calls back)
I am.
ERZSÉBET (O.S.)
(calls out)
The model is beautiful, darling! So
beautiful.
LÁSZLÓ regards the model.
ERZSÉBET (CONT'D)
We’re taking a bus into the city
this afternoon to visit Attila. The
stop is very nearby! Would you like
to come?
LÁSZLÓ
I have something this afternoon.
88 INT. GUEST HOUSE - BATHROOM - SAME 88
ERZSÉBET smiles at ZSÓFIA, full of joy.
ERZSÉBET
I’ve missed him. Just hearing him
mill about in the other room.
It’s...
ERZSÉBET searches for the right word.
ERZSÉBET (CONT'D)
Fantastic.
89 INT. VAN BUREN ESTATE - LOUNGE - LATER 89
VAN BUREN observes the front yard from the quietude of his
private quarters. He watches...
LONG LENS ON -
ZSÓFIA and ERZSÉBET explore the property. ZSÓFIA pushes
ERZSÉBET’s wheelchair through the estate’s hedge maze.
ERZSÉBET says something to make ZSÓFIA crack a smile.
Ratings
Scene 38 - A Tense Encounter
WE TRACK RIGHT with ZSÓFIA and ERZSÉBET who have put on
something more formal for their outing into town. ZSÓFIA
pushes ERZSÉBET at a steady clip.
ERZSÉBET
Perhaps we should see about some
language classes this afternoon?
You could take the bus in on your
own...
ZSÓFIA hardly reacts.
ERZSÉBET (CONT'D)
I am positive it is the last place
you would like to be but it’s good
for you and I can brief the
instructor or whomever about your
situation. Listening to me babble
on will only get you so far.
After some time, VAN BUREN’s town car pulls up beside them.
He rolls the window down...
VAN BUREN
Where are you two headed?
ERZSÉBET
We’re going into town.
VAN BUREN
Which town is that? We’ve got
several nearby, you know!
ERZSÉBET laughs pleasantly.
ERZSÉBET
Philadelphia. To visit family.
VAN BUREN
Ah, yes. The American cousin! The
city then! Us, as well.
ERZSÉBET corrects herself.
ERZSÉBET
Yes, the city.
VAN BUREN
(to ZSÓFIA)
Well, don’t just stand there. Let
us give you and your Auntie a lift.
VAN BUREN opens the door to the backseat and steps out to
help move ERZSÉBET inside.
91 INT. AUTOMOBILE - MOMENTS LATER 91
VAN BUREN sits in the passenger side front seat. The two
ladies sit in the back.
VAN BUREN
I have a friend in New York, a
newspaper man. He’s always on the
lookout for new talent. Shall I
mention you to him?
ERZSÉBET
Well, yes, of course. That is very
kind of you, Mr. Van Buren.
ERZSÉBET thinks, hesitates, then...
ERZSÉBET (CONT'D)
Would that mean I would have to
work out of New York?
VAN BUREN
In the beginning, perhaps... But
you haven’t got the job yet so
let’s not get ahead of ourselves.
ERZSÉBET
No, no, of course not. I did not
mean it to be presumptuous!
The road is rough and the engine, loud.
VAN BUREN
What’s that?
ERZSÉBET
(shouts to be heard)
I did not mean it to be
presumptuous!
VAN BUREN accepts her acknowledgement and moves on.
VAN BUREN
In any event, you could commute
there with me at the start. I’m
there Monday to Friday.
ERZSÉBET
Well, sure, that could be fine. I’d
have to speak with László though.
VAN BUREN
When we break ground, he will have
his hands full, I can assure you!
VAN BUREN’s intent is enigmatic.
VAN BUREN (CONT'D)
I enjoy showing friends around
Manhattan. You mustn’t have seen
much on your way in.
ERZSÉBET
The Penn Station Terminal was very
nice.
VAN BUREN
-a pity that it’s become so full of
tramps hassling women and children
with their arms outstretched. They
line up and extend from the walls
as if integral to its very
foundation like-
He searches for the apt metaphor.
VAN BUREN (CONT'D)
-like a haunted wall mural!
ERZSÉBET
Ah, perhaps that is why I felt so
at home. I’m a former bag lady
myself who does also enjoy the work
of the Dutch masters.
VAN BUREN
‘Earthly Delights!’ You pictured it
just as I meant it. Clever, clever.
ERZSÉBET looks at her niece with some trepidation about the
conversation then digs deeper.
ERZSÉBET
“Integral to its foundation.” You
sound like my husband. Although a
mural’s decorative; nothing to do
with the foundation.
The jab doesn’t seem to land. No response from VAN BUREN.
They ride in silence for a moment. It’s unclear whether or
not he’s taken offense.
ERZSÉBET (CONT'D)
Where did you get your passion for
architecture?
VAN BUREN
Oh, we’ve done buildings before but
I’d hardly call them artistic. I
suppose it was because the cellar
was full.
ERZSÉBET
Pardon?
VAN BUREN
I collect books, butterflies, and
such. Above all though, Portuguese
Madeira. I take it every night
after supper.
He turns to her.
VAN BUREN (CONT'D)
I did the maths and if I were to
uncork a bottle seven days a week
for the next thirty years - the
maximum of my life expectancy - I
shouldn’t need more than ten
thousand altogether. So once the
cellar was full, it was time I set
about in a new direction. Out of
the cellar and into the sky.
ERZSÉBET
If you drink a bottle of Madeira
every day, I shouldn’t think you’d
last thirty years.
VAN BUREN
I always keep good company.
ERZSÉBET senses VAN BUREN asserting himself, flirting with
her.
Ratings
Scene 39 - Confrontation in the Trailer
WE TRACK FAST RIGHT with LÁSZLÓ who trembles with anger.
93 INT. VISTA - CONSTRUCTION SITE - OFFICE TRAILER - CONTINUOUS
93
LÁSZLÓ enters the trailer where LESLIE WOODROW is on a
telephone call. LÁSZLÓ throws the file at LESLIE’s head...
LESLIE WOODROW
I’m going to have to call you back.
LESLIE hangs up the phone.
LÁSZLÓ
How dare you.
LESLIE WOODROW
How dare I what?
LÁSZLÓ’s accent is embellished when he is angry.
LÁSZLÓ
You go behind the back- and have
them meet with another goddamned
designer! Who in the hell is James
T. Simpson? You’re trying to get me
sacked!
LESLIE WOODROW
I didn’t tell him to meet with
anyone. Of course, I didn’t. You
think I feel like working with you
hating my guts for the next two
godforsaken years?
LÁSZLÓ blinks.
LESLIE WOODROW (CONT'D)
Jim Simpson is a smart guy. He
doesn’t want to interfere at all.
LÁSZLÓ taps the document with his index finger.
LÁSZLÓ
I’m not making these changes.
LESLIE WOODROW
I’m afraid it’s not up to you. The
casts are already finished. We put
in that order over a month ago.
This is the first time you’re
hearing about it?
LÁSZLÓ
No one told me a damned thing.
LESLIE WOODROW
Harrison said he would talk it over
with you. I’m sorry you found out
this way. I really am.
LÁSZLÓ sits down and starts re-drawing the plans in a fever.
He makes new connections, new corridors, new ideas, with a
few strokes of a pen then slams it down in front of LESLIE.
LÁSZLÓ
There. It’s mine again. He cuts
three meters from the top, I add it
to the bottom!
LESLIE WOODROW
We can’t afford all this! I’m
already over-budget this quarter!
LÁSZLÓ
Use what you need to of my fee.
LESLIE tries to reason with him.
LESLIE WOODROW
What’s the difference between forty
and fifty feet, anyway?! The
ceilings are still plenty high!
LÁSZLÓ
Get it approved, Leslie.
LESLIE WOODROW
We have a walk-thru next week and
Jim is supposed to be there. Just
hear him out. You can state your
case to Harrison and Harry Lee. I
won’t open my mouth, I swear it.
Ratings
Scene 40 - Tensions in the Trenches
It’s raining cats and dogs. Thunder, lightning, wind.
ULTRA-WIDE ANGLE TRACKING SHOT -
SEVEN MEN; LÁSZLÓ, VAN BUREN, HARRY LEE, LESLIE WOODROW,
MAYOR KINNEY, MICHAEL HOFFMAN, and JIM SIMPSON stand in the
newly dug out foundation; a corridor of dirt reminiscent of
the First War trenches.
They all hold out large canvas umbrellas to shield themselves
from the torrential downpour.
LÁSZLÓ
For the cantilevered floors- we
plan to use upside-down T-shaped
beams integrated into concrete
slabs down here.
(MORE)
LÁSZLÓ (CONT'D)
This will form both the ceiling of
the space below and provide
resistance against compression...
MAYOR KINNEY tries to make sense of the blueprints.
MAYOR KINNEY
Which corridor are we in now?
LESLIE nervously tries to explain...
LESLIE WOODROW
We’re below ground here. It’s a
sort of- passageway between the
main unit and the three mid-sized
modular units to the south and
southeast.
JIM SIMPSON reviews LÁSZLÓ’s new plans...
JIM SIMPSON
I don’t see how any of this
acknowledges my proposed cuts. We
are just spinning our wheels out
here. I took ten feet off the
height of these damned things and
now we are 30 feet underground?! I
mean, what is- what are all these
new connections between facilities?
LÁSZLÓ
A better idea.
JIM SIMPSON
What are they for? You put all
these together and you’ve added on
a quarter mile or so of tunnel to
carve out on top of everything
else!
LÁSZLÓ keeps his cool. He speaks to be heard but never shouts
explaining himself to the group.
LÁSZLÓ
We excavate the entire diameter of
the tunnel system using a- full-
face method.
JIM SIMPSON
For what?! Why can’t people just
walk themselves directly across the
courtyard?!
LÁSZLÓ
Something inside for the people to
discover.
LÁSZLÓ is starting to get as worked up as we have ever seen
him.
LÁSZLÓ (CONT'D)
And so it is one building and not
four! For its harmony. You said it
before, Mr. Van Buren!
(MORE)
LÁSZLÓ (CONT'D)
You expected it to be one building,
and now it is!
VAN BUREN nods, uncomfortable. JIM SIMPSON scoffs.
JIM SIMPSON
I’ll tell you- we are not going
back inside until you look us in
the eye and you tell us where you
are willing to compromise?!
LÁSZLÓ seethes but remains calm.
LÁSZLÓ
Jim, tell us again what you’ve
built?
JIM SIMPSON
I’ll tell you about what I’ve
built, whatever-the-hell-your-name-
is! A shopping center in New Hope,
a hotel in Stamford Connecticut-
LESLIE INTERJECTS...
LESLIE WOODROW
Now Jim, let me remind everyone
that László has offered to
personally off-set these costs-
JIM SIMPSON
You brought me in here to tell you
what it is that you do not need!
You don’t need this guy!
JIM SIMPSON points at LÁSZLÓ, accusingly.
JIM SIMPSON (CONT'D)
This whole thing is just- bizarre,
Leslie!
LESLIE WOODROW
I really think you two might see
eye-to-eye if you just spent a
little more time getting to know
each other. Honestly.
JIM throws his papers up in the air.
LÁSZLÓ
Jim. Listen to me.
JIM SIMPSON
I’m listening.
LÁSZLÓ
Everything we see that is ugly-
stupid, cruel, and ugly. Everything
is your fault.
Taking a moment to fully digest the severity of LÁSZLÓ’s
sentiment, JIM SIMPSON replies with a violent push causing
LÁSZLÓ to slip and fall in the mud.
VAN BUREN
Jim, you stop that right now!
JIM SIMPSON appears embarrassed.
JIM SIMPSON
I’m sorry-
VAN BUREN
Think it’s time for you to head
home, Jim. Thanks for your insight.
JIM SIMPSON walks away. VAN BUREN extends a hand to LÁSZLÓ.
VAN BUREN (CONT'D)
I trust you. I trust you, all
right?
Ratings
Scene 41 - Groundbreaking Tensions
MAYOR KINNEY walks ahead of the group with VAN BUREN.
MAYOR KINNEY
Are you sure about this guy? I know
Jim lost his temper but he had a
few points back there, didn’t he?
My office is fielding complaints
about the plans for this place on a
daily basis, more or less! Jim’s a
Protestant! Gives folks peace of
mind. People are worried it’s going
to ruin the hillside, Harrison.
VAN BUREN
We’ll do something. A little event
for the community. Get them on-
side.
VAN BUREN’s expression doesn’t betray his intent.
VAN BUREN (CONT'D)
And Jim will stay on.
MAYOR KINNEY furrows his brow.
MAYOR KINNEY
Does Jim know that? I think he
thinks he’s fired.
VAN BUREN
I’ll have Leslie telephone him
tomorrow, and Jim can advise from
afar.
VAN BUREN gestures to LÁSZLÓ behind them.
VAN BUREN (CONT'D)
It’s better for morale this way,
you see?
96 EXT. VISTA - AFTERNOON 96
The sun is shining. A small crowd has gathered for a ribbon
cutting ceremony. VAN BUREN, HARRY LEE, and LÁSZLÓ pose for a
photograph with MAYOR KINNEY. Following a round of pictures,
VAN BUREN calls out...
VAN BUREN
Girls! Girls! Come in for a
picture!
ERZSÉBET, ZSÓFIA, MAGGIE LEE enter from the side and gather
around the core group. ERZSÉBET tugs at LÁSZLÓ’s blazer and
he obliges by kneeling down to her chair. She whispers in his
ear...
ERZSÉBET
(Hungarian, whispers)
I’m proud of you. Make love to me
tonight.
VAN BUREN holds up a shovel demonstratively.
VAN BUREN
All right everyone! On three...
EVERYONE
O-ne! T-wo!
Everyone but ZSÓFIA smiles.
VAN BUREN
And...
He pulls the shovel back.
EVERYONE
Three!
The shovel breaks the earth.
Ratings
Scene 42 - Laughter by the Water
CLOSE HANDHELD ON -
The sun is setting. Several party guests are swimming. It’s
exactly like a Renoir. Sun-drenched ZSÓFIA bathes sensually
in the pond, her skin tightens with goosebumps. HARRY LEE
swims up to greet her.
HARRY LEE
(cheerful)
Rub-a-dub, three maids in a tub.
And who do you think were there?
The butcher, the baker, the
candlestick-maker-
He takes some water in his mouth and spits it out.
HARRY LEE (CONT'D)
Invigorating, isn’t it?
NEW ANGLE ON -
By the shore, ERZSÉBET lies on a towel near LÁSZLÓ, VAN
BUREN, and MAGGIE LEE. All of them laugh madly; a joyous
scene.
ERZSÉBET
(hysterical)
Did you ever manage to find the
place?
MAGGIE LEE
After driving around for hours in
the dark looking for this damned
camouflaged mailbox-
MAGGIE LEE laughs in anticipation of the punchline as she
recounts the story.
MAGGIE LEE (CONT'D) VAN BUREN
-we walked in the door, and (interjects)
the table had just been It was well after ten o’clock-
cleared for dessert!
ERZSÉBET
-and then what?!
MAGGIE LEE
I noticed something a little funny
about the other dinner guests.
ERZSÉBET
How so?!
MAGGIE LEE
They just all looked a bit pale in
the face, I reckon...
Even LÁSZLÓ can’t help but grin now.
ERZSÉBET
OH NO!
VAN BUREN
Maggie, you’re exaggerating.
MAGGIE LEE
I AM NOT, I swear it! They looked
exactly like that popular painting,
you know the one-?
MAGGIE LEE imitates Edvard Munch’s ‘The Scream’ causing
another fit of laughter.
ERZSÉBET
Stop it! I can’t breathe.
MAGGIE LEE
Daddy kept apologizing to our
hostess-
VAN BUREN
For context, her husband is among
Van Buren Steel’s most important
private clients.
MAGGIE LEE
Daddy tried to explain everything
that had made us late as she
prepared for us what appeared to be
a delightful looking little trifle!
ERZSÉBET
Was it awful?
MAGGIE LEE
I kid you not; cow tallow and fruit
pie!
ERZSÉBET
(laughs)
NO!
MAGGIE LEE
-and poor daddy has such a sweet
tooth! I didn’t know how to warn
him in front of everyone before he
took a bite this big!
MAGGIE demonstrates the enormous slice with her index
fingers.
ERZSÉBET
(to VAN BUREN)
NO!
VAN BUREN
Indeed.
MAGGIE LEE
He began gagging like a house cat!
She imitates a house cat gagging on a fur ball.
MAGGIE LEE (CONT'D)
And all he could say to explain
was...
MAGGIE LEE holds herself together for the finale.
MAGGIE LEE (CONT'D)
‘Dear... I am allergic.’ to which
our concerned hostess replied, ‘
allergic to what?!’, and he says...
VAN BUREN buries his face in hands.
MAGGIE LEE (CONT'D)
‘TO THAT. I am very allergic to
whatever THAT is.’
Everyone howls.
Ratings
Scene 43 - Tensions at the Water's Edge
LONG LENS ON -
ZSÓFIA and HARRY LEE come up from the water and stand beside
VAN BUREN, MAGGIE LEE, and ERZSÉBET who is now situated back
in her wheelchair.
NEW ANGLE ON -
LÁSZLÓ regards them but stands talking with GORDON and
GORDON’s son, WILLIAM (significantly older than when we last
saw him). The three of them observe a small construction crew
that carry futons above their heads which implies they’ll be
sleeping on-site.
WILLIAM points.
WILLIAM
Is that your crew?
GORDON
They’ll sleep here.
WILLIAM
It’s a lot of them. (Beat) What’s
that thing over there?
GORDON
On the left?
WILLIAM nods.
GORDON (CONT'D)
That’s a motor grader. We used to
do it with horses. Makes a flat
surface to pour on.
LÁSZLÓ
We can take you down there in the
morning if you are curious.
GORDON squeezes his son.
GORDON
What do you say we get you in one
of them machines?
HARRY LEE (O.S.)
Big day, Mr. Toth!
HARRY LEE approaches the scene.
LÁSZLÓ
Yes.
HARRY LEE, drunk but not sloppy, puts an arm around LÁSZLÓ
and WE TRACK with them as they walk off.
HARRY LEE
Leslie mentioned during our meeting
last week with Jim that you’re
putting your fee back into the
project. That seems a bit
irresponsible given your situation,
doesn’t it? Will it even last you
to the end of your commitment?
LÁSZLÓ is silent, then...
LÁSZLÓ
I will figure something out.
HARRY LEE
Have you discussed it with your
wife?
LÁSZLÓ
She will be supportive.
HARRY LEE
Suit yourself but I wouldn’t do it,
and I know Leslie certainly
wouldn’t do it, so I didn’t want
you to think you’d be setting any
sort of precedent.
LÁSZLÓ
I expect nothing from either of
you.
BEAT.
LÁSZLÓ (CONT'D)
How does that work exactly? The
company paying themselves to
finance?
HARRY LEE
Do you not think I deserve to be
paid for the time and energy I
devote to this project?
The question hangs in the air as they come to a stop.
HARRY LEE (CONT'D)
Might I make a suggestion?
LÁSZLÓ
You may.
HARRY LEE
Your niece has made several of our
guests very uncomfortable. Perhaps
you should have a talk with her.
LÁSZLÓ
About what?
HARRY LEE
Don’t get me wrong. She’s very
lovely to look at and as much as we
all dream of having a bird that
keeps her trap shut, it comes off
like a rude affectation. I’ve tried
to connect, make conversation. It
goes nowhere.
LÁSZLÓ doesn’t respond.
HARRY LEE (CONT'D)
Oh, I see. It must run in the
family.
No response.
HARRY LEE (CONT'D)
I would like us to be friends...
LÁSZLÓ
This is not- friendly, Harry.
HARRY LEE lets go, exasperated.
HARRY LEE
I didn’t say I’d like to slip my
prick into her. Forget it! I’ve had
too much to drink. I need a nap.
HARRY LEE begins to walk off and turns around to share a
final sentiment.
HARRY LEE (CONT'D)
(venomous)
We tolerate you.
Ratings
Scene 44 - Departure and Aspirations
LÁSZLÓ approaches ERZSÉBET, ZSÓFIA, and VAN BUREN.
LÁSZLÓ
It’s time for us to go.
VAN BUREN
You don’t want to join us for
dinner at the house?
LÁSZLÓ
We start early tomorrow. Thanks for
the event.
VAN BUREN
(to ERZSÉBET)
Does he ever take a rest?
ERZSÉBET
Never. Good night, Mr. Van Buren.
LÁSZLÓ turns ERZSÉBET in her chair and WE TRACK with them
back towards the main property. ZSÓFIA follows...
ERZSÉBET (CONT'D)
What’s the rush?
LÁSZLÓ
We can talk at the house.
ERZSÉBET
Can you slow down?
LÁSZLÓ
(matter-of-fact)
I am forfeiting the remainder of my
fee due to some expenses
unforeseen.
ERZSÉBET
So, that’s what the son kept
alluding to.
LÁSZLÓ
Yes. He’s a snake.
LÁSZLÓ regards ZSÓFIA just next to him.
LÁSZLÓ (CONT'D)
(Hungarian)
Don’t go near him Zsófia.
ZSÓFIA nods, appreciative of her uncle’s sentiment.
ERZSÉBET
All right, so what will that mean
for us?
LÁSZLÓ
I will figure something out.
ERZSÉBET
We will figure something out. I
suppose we can make due on my
salary.
LÁSZLÓ
-your salary?
ERZSÉBET’s tone is playful though her voice does quiver with
some concern.
ERZSÉBET
Mr. Van Buren’s helped me with a
job interview in New York City. I’m
sure once they meet me, they won’t
be able to resist me.
Ratings
Scene 45 - Reflections on Loss
LÁSZLÓ, ERZSÉBET, ZSÓFIA, GORDON, and WILLIAM sit for a
peasant’s supper that ERZSÉBET’s prepared for them.
GORDON
Thank you for the supper, Mrs.
Toth.
ERZSÉBET
I thought we might have our own
little party to celebrate all of
your hard work. You’ve come so far,
the both of you.
GORDON
Oh, it’s not mine really.
ERZSÉBET
(pointedly)
That’s not what László tells me. He
says he couldn’t have done it
without you.
LÁSZLÓ looks a little embarrassed at the affection he’s
expressed in private for his colleague and friend.
ERZSÉBET (CONT'D)
Do you have a misses at home,
Gordon?
GORDON
(mournful)
William’s mother, Augusta, passed
away in ‘43- she got sick and died
of a damned tooth infection of all
things.
ERZSÉBET directs her attention to WILLIAM.
ERZSÉBET
I am very sorry to hear that, and I
am terribly sorry for your loss.
GORDON
He’s all right. He was too young
then to remember much, and I was
gone training two years in Arizona
before they shipped us all off to
Naples, Italy; 92nd Infantry
Division. They wouldn’t let me back
home all that time, not once.
Augusta’s sister looked after him
until I got back. Kept me alive
though, knowing he was waiting for
me.
GORDON puts a hand on his teenage son’s back.
GORDON (CONT'D)
Kept me good and alive, thank
goodness.
ERZSÉBET blurts out.
ERZSÉBET
Zsofia’s mother passed.
ZSÓFIA, previously emotive, turns to stone.
ERZSÉBET (CONT'D)
Losing a mother- it’s an
unfathomable loss, you see. To lose
one’s birth mother is to lose the
very foundation on which we stand.
ERZSÉBET turns to WILLIAM...
ERZSÉBET (CONT'D)
The mind may not know its loss but
the heart does.
WILLIAM finally speaks for himself.
WILLIAM
I remember her.
GORDON
That’s because I’ve told you so
much about her. You were too small.
WILLIAM is defiant.
WILLIAM
No, I remember Augusta. I just
wanted to make it easier on you.
101 INT. GUEST HOUSE - LIVING ROOM - LATER 101
ERZSÉBET smokes leafing through her husband’s drawings. After
some time, LÁSZLÓ enters from behind her...
LÁSZLÓ
What are you doing?
She doesn’t turn around to regard him. She keeps observing
what’s in front of her.
ERZSÉBET
Oh, I’m just looking at you.
LÁSZLÓ smiles, kisses the back of her neck.
LÁSZLÓ
What do you think?
ERZSÉBET
It’s unusual. Even for you.
LÁSZLÓ
You think so?
ERZSÉBET
Many rooms are quite small. The
ceilings are high...
LÁSZLÓ
Yes. Inside, you must look upwards.
ERZSÉBET
So, which part of it are we paying
for?
LÁSZLÓ
The height of the ceilings. The
glass above.
Ratings
Scene 46 - Contrasts of Faith and Catastrophe
VARIOUS ANGLES OF MEN AT WORK. The vista has transformed into
an active construction site on a grand scale. LÁSZLÓ and
GORDON supervise as their crew lays the rest of the concrete
foundation.
INT. THE CONGREGATION MIKVEH ISRAEL - MIKVEH
LÁSZLÓ, ERZSÉBET, ZSÓFIA, and MICHAEL & MICHELLE HOFFMAN file
into a corridor towards the basement that’s been set up for a
makeshift service at Yom Kippur. ERZSÉBET laughs a bit at the
banal functionality of their surroundings.
ERZSÉBET
The service is in here?
MICHELLE HOFFMAN nods.
MICHELLE HOFFMAN
(clarifies)
For the overflow.
ERZSÉBET
Because of the holiday?
MICHELLE HOFFMAN
The community is growing.
INT. THE CONGREGATION MIKVEH ISRAEL - LATER
LÁSZLÓ and MICHAEL HOFFMAN wear Talith reciting the Viddui,
rhythmically pounding their chests in accordance with the
prayer.
LÁSZLÓ AND MICHAEL
(chanting in Hebrew)
We have stolen, slandered, sinned…
We were wicked, malicious, have
taken, and lied
We’ve been evil and given harmful
advice…
LÁSZLÓ hits his chest with considerable force.
105 EXT. TRAIN DEPOT - MORNING 105
Crew men load monolithic slabs of pre-cast concrete onto a
flat bed train car.
MEN
Careful, careful!
106 EXT. MEADOW - RAILROAD - EVENING 106
CUE: The score imitates the Hebrew Cantillation. It swells,
magnificent.
LÁSZLÓ (O.S.)
(chanting in Hebrew)
We have deceived, mocked-
ULTRA-WIDE ON -
In the distance, a long train, made small by the landscape.
Peace and beauty.
LÁSZLÓ (CONT'D)
Rebelled, against god, against
others,
We are spiteful.
ANGLE ON -
The tracks rush at us on a wide-angle lens.
LÁSZLÓ (CONT'D)
We have turned away,
Deliberately.
BACK TO ULTRA-WIDE -
The train derails and explosions appear in the smoke from the
steam engine... The event is catastrophic but we are so far
away that it hardly makes a sound.
Ratings
Scene 47 - Chaos and Consequences
ERZSÉBET wakes up in bed wailing. LÁSZLÓ is alert, terrified.
LÁSZLÓ
What’s happening?!
ERZSÉBET
It’s too much!
LÁSZLÓ
What’s too much?!
She lets out another primal scream.
ERZSÉBET
The pain is too much. I need
Zsófia! She has my medication.
LÁSZLÓ stumbles out of bed and exits. ERZSÉBET writhes in the
sheets.
108 INT. VISTA - CONSTRUCTION SITE - OFFICE TRAILER - DAY 108
LÁSZLÓ, HARRY LEE, VAN BUREN, and two ENGINEERS are huddled
into the back of a makeshift office space on the lot. LESLIE
WOODROW holds a telephone to his ear...
LESLIE WOODROW
I have everyone here with me now,
yes.
Beat.
LESLIE WOODROW (CONT'D)
I see. Well, please let us know if
there is anything at all we can do.
We are terribly sorry for the news.
Beat.
LESLIE WOODROW (CONT'D)
On tenterhooks at this end so give
me a ring here when you have
something.
LESLIE hangs up the phone.
LESLIE WOODROW (CONT'D)
A big section came undone, he
couldn’t tell me which one for
certain, and it took seven freight
cars along with it.
VAN BUREN slams his hands on the desk.
VAN BUREN
(shouts)
How the hell did you find these
people, Leslie?!
HARRY LEE
Transpo company is our own, Dad-
VAN BUREN
WHAT?!
HARRY LEE
We sent our own guys to Charleston.
LESLIE WOODROW
The rail cars were ours too... It
was cheaper given all the back and
forth. It’s well over a hundred
shipments, Harrison.
VAN BUREN
You don’t utter another goddamned
word to the rail company until
Michael can advise.
LESLIE WOODROW
I’m hoping to have more answers for
you soon, sir.
LÁSZLÓ
How far is it? Can we see what can
be salvaged?
LESLIE WOODROW
The accident put two brakemen in
the hospital. It’s a real mess out
there.
VAN BUREN
Send their families flowers for
Christ’s sake-
Beat.
VAN BUREN (CONT'D)
Wait. Don’t. Looks guilty.
HARRY LEE
I’ll call Michael.
HARRY LEE exits.
LESLIE WOODROW
What would you like me to do in the
meantime?
VAN BUREN
With what?
LESLIE WOODROW
Our crew.
VAN BUREN
Let them go.
LÁSZLÓ looks sick.
LÁSZLÓ
Sir, you can’t-
VAN BUREN
I CAN! YES! YES, I CAN!
VAN BUREN paces furiously.
VAN BUREN (CONT'D)
People are going to write about
this! I’m staring down the barrel
of the next two years of my
goddamned life, Mr. Toth! What if
one of them dies? What if both of
them die? Who’s going to pay for
it? Are you going to pay for it?!
LESLIE WOODROW
László, in the interest of
transparency, before I came to
retrieve you, I had already advised
Mr. Van Buren to cut his losses-
VAN BUREN
Shut up, Leslie.
LESLIE swallows, humiliated. VAN BUREN exhales.
LÁSZLÓ
Sir, please.
VAN BUREN
Don’t beg. It’s unbecoming. You’re
welcome to stay here until you’ve
found your footing elsewhere. I
have a mess to clean up.
Ratings
Scene 48 - Breaking Point
We track left fast with LÁSZLÓ and GORDON across the
landscape.
LÁSZLÓ
I’m sorry, Gordon.
GORDON
Don’t apologize to me.
LÁSZLÓ
I can give you some money while you
look for something.
GORDON
I’ll be fine.
LÁSZLÓ
(affirmative)
You have a kid. I’ll give you
something and you’ll take it.
LÁSZLÓ stops in his tracks and looks at GORDON.
LÁSZLÓ (CONT'D)
You got any hop on you?
GORDON looks grave.
GORDON
None at all. I’m off it.
LÁSZLÓ
Good, good. That’s good to hear.
110 INT. GUEST HOUSE - LATER 110
LÁSZLÓ smashes the model in a terrible fury. ERZSÉBET
observes her husband’s tantrum, unmoved.
ERZSÉBET
You’re making me a mess to clean
up.
He continues on...
ERZSÉBET (CONT'D)
(shouts)
STOP IT! You’re acting like a
child.
LÁSZLÓ
It’s over.
ERZSÉBET
You have to march over there right
now and get him excited again. Keep
him engaged. You know how these
rich fellows are. For him, it’s
like refurbishing a kitchen.
LÁSZLÓ
Two people are in the hospital.
ERZSÉBET
That’s not your fault-
LÁSZLÓ
Darling, it’s over.
Silence.
FADE TO BLACK.
Ratings
Scene 49 - Tensions of Departure
VIEW FROM THE EAST RIVER TOWARDS THE UNITED NATIONS AND THE
SURROUNDING NEW YORK CITY SKYLINE.
CROSS DISSOLVE:
INT. MIDTOWN EAST STREET LOBBY - CONTINUOUS
WE PAN off sliding glass doors as MICHAEL HOFFMAN enters the
lobby of the office building.
113 INT. RUDOLPH HEYWOOD & ASSOCIATES LOBBY - MOMENTS LATER 113
MICHAEL HOFFMAN approaches the firm’s RECEPTIONIST.
MICHAEL HOFFMAN
Looking for Rudolph Heywood and
Associates.
RECEPTIONIST
Beg your pardon, sir, but who is it
that you’re looking for?
MICHAEL HOFFMAN
László. Toth. He draws there.
She reviews a form in front of her.
RECEPTIONIST
Could I ask you to spell that? Oh,
yes- I see him. Draftsmen are right
upstairs.
114 INT. RUDOLPH HEYWOOD & ASSOCIATES DRAWING ROOM - MOMENTS 114
LATER
WE STEADICAM up the stairs and across the space with MICHAEL
HOFFMAN past thirty or so men with hair cut close to the
scalp and short neckties all hunched over desks and easels.
PUSH IN ON LÁSZLÓ, who has aged and further decayed somewhat.
He smokes a pipe at a drawing board. A green desk lamp
highlights an inscrutable expression.
There’s visible bruising, track marks, where his sleeves are
rolled up.
115 INT. LÁSZLÓ AND ERZSÉBET’S TENEMENT - KITCHEN - NIGHT 115
ERZSÉBET and LÁSZLÓ sit across from ZSÓFIA and her husband,
BINYAMIN, an orthodox Jewish man. ZSÓFIA is five months
pregnant and speaking again.
ZSÓFIA
(soft-spoken)
We have some news.
LÁSZLÓ
As do I.
ERZSÉBET
Oh, how exciting. What is it
László?
LÁSZLÓ
Please. Zsófia, go ahead.
ZSÓFIA
We are making Aliyah.
ERZSÉBET looks a little heartbroken.
ERZSÉBET
What?
ZSÓFIA
We are going to Jerusalem.
ERZSÉBET
Yes, I heard you.
ZSÓFIA
Binyamin has family there.
BINYAMIN
My older brothers relocated with
their families in 1950. They became
citizens.
ERZSÉBET nods, considers this.
ERZSÉBET
Life is difficult there. Have you
thought this through?
ZSÓFIA
It is our obligation.
LÁSZLÓ
To whom?
ZSÓFIA
Our repatriation is our liberation.
LÁSZLÓ swats at the air, starting to get worked up.
LÁSZLÓ
Where will you live? Where will you
work?
BINYAMIN
We can stay with my brother’s
family when we first arrive.
ERZSÉBET silences LÁSZLÓ by resting her hand on his.
ERZSÉBET
I was planning to help with the
baby.
BINYAMIN
My brother’s wife can help, also.
ZSÓFIA
I am Jewish. My child is Jewish.
It’s time for us to go home.
ERZSÉBET snaps.
ERZSÉBET
Does it somehow make us less Jewish
that we are here?
Silence.
ERZSÉBET (CONT'D)
Oh, I see, perhaps Binyamin did not
recognize me to begin with-
ZSÓFIA
He does.
Beat.
ERZSÉBET
I’m sorry.
ZSÓFIA
No, I am sorry.
ERZSÉBET
No, it’s wonderful news and we
reacted badly out of self-interest.
We are simply...
ERZSÉBET’s voice cracks and she begins to cry.
ERZSÉBET (CONT'D)
-going to miss you.
ZSÓFIA
Well, we would like you to come.
ERZSÉBET wipes her tears away trying to pull herself
together.
ERZSÉBET
Dear, we have jobs here.
ZSÓFIA
You can have a better job in
Israel.
ERZSÉBET
I like my job!
ZSÓFIA
A woman’s column. It’s beneath you.
ERZSÉBET
I write for a paper and I’m paid
for it! How many women my age could
make the same claim?
There’s a heavy silence.
ERZSÉBET (CONT'D)
(deadpan)
What’s your news, László?
LÁSZLÓ
Harrison’s asked me back.
ERZSÉBET looks up at him.
LÁSZLÓ (CONT'D)
Michael came by the office today.
Insurance monies came through. They
plan to forego the library to
compensate for legal expenses but
they want to complete the project.
ERZSÉBET
What about your job here at
Heywood?
Silence.
ERZSÉBET (CONT'D)
You throw everything up in the air,
just like that?
ERZSÉBET sulks.
ERZSÉBET (CONT'D)
I don’t like that man.
LÁSZLÓ
You scarcely knew him.
ERZSÉBET
He dropped you as quickly as he
took you on.
Beat.
ERZSÉBET (CONT'D)
You’ve already said yes, I take it?
No response.
LÁSZLÓ
He’s in Roma on business and would
like me to join him to review
marbles for the altarpiece in
Carrara.
ERZSÉBET
See! I told you that for him it’s
like doing a kitchen!
ERZSÉBET is embarrassed by their public dispute.
ERZSÉBET (CONT'D)
Everyone is leaving me.
ZSÓFIA
No, it isn’t true.
ERZSÉBET
Isn’t it?
ZSÓFIA
No. Uncle László is leaving you
only a short time.
LÁSZLÓ
Some days.
ZSÓFIA
And I will visit and so will you.
We will find a way.
LÁSZLÓ
I can arrange to have you dropped
and picked up at the newspaper
while I’m gone.
ERZSÉBET
It’s not just this trip. You’ll be
at Doylestown again now... I’ll be
fine on my own.
LÁSZLÓ
I will make arrangements.
116 INT. TENEMENT BUILDING - BEDROOM - NIGHT 116
ERZSÉBET holds on to LÁSZLÓ for dear life.
ERZSÉBET
Promise you won’t let it drive you
mad.
LÁSZLÓ
I promise.
117 INT. TENEMENT BUILDING - BATHROOM - MORNING 117
In a small toiletry pouch with his shaving kit, LÁSZLÓ pulls
out a small syringe and spoon. He makes an internal decision
and dismantles the syringe, making it less recognizable at a
glance. He tucks it back in the pouch for safe-keeping and
places it in his luggage.
ERZSÉBET (O.S.)
It’s time to go! You’ll be late!
CROSS DISSOLVE:
Ratings
Scene 50 - Cultural Tensions in Carrara
A perfect portrait of VAN BUREN in a white suit.
ANGLE ON -
LÁSZLÓ and VAN BUREN sip coffees and smoke at an outdoor
table, the sunlight is brilliant and white hot.
VAN BUREN
I must say, Mr. Toth, you look a
mess. I’d expect your Elizabeth to
be taking better care of you.
LÁSZLÓ
The years have been difficult.
VAN BUREN
For us all! For us all!
VAN BUREN regards his watch.
VAN BUREN (CONT'D)
Where in the hell is he?
LÁSZLÓ
I am sure he will be along any
minute.
Beat.
VAN BUREN
This is why I never do business
with Italians. They are the spics
of Europe.
LÁSZLÓ points.
LÁSZLÓ
That’s him.
ANGLE ON -
A middle-aged man, ORAZIO, on approach. He waves
enthusiastically at LÁSZLÓ.
ORAZIO
(calls out)
Ciao amico Laz-o!
ORAZIO reaches him and embraces him.
LÁSZLÓ
Nice to see you.
He kisses LÁSZLÓ and extends his hand to VAN BUREN. ORAZIO is
missing two fingers on his right hand so he offers him his
left.
ORAZIO
Orazio, a pleasure to meet you. I
will take a quick coffee and we
will go.
VAN BUREN nods. ORAZIO heads inside the cafe.
VAN BUREN
What happened to his hand?
LÁSZLÓ
Dangerous work-
119 EXT. CARRARA MARBLE QUARRY - LATER 119
Dramatic skies frame a sea of white marble. Shapes that
resemble small pueblos without entrances emerge from the
rock. Channeling machines pillage the earth, excavating
marble, Venato, Arabescato, and Cardoso stone. The air
whistles. The sun bears down.
HANDHELD ON -
VAN BUREN, ORAZIO and LÁSZLÓ walk across the massive lower
flatbed of the quarry. Colossal blocks of stone encircle
them.
ORAZIO
You are tough, Mr. Laz-o, you know?
Not so many people I see anymore
from before the war.
VAN BUREN
I’ve worn the wrong shoes for this
trek. May, I take your arm László?
LÁSZLÓ takes VAN BUREN by the arm, steadying him.
ORAZIO
Step where I step and you’ll be all
right.
ORAZIO leads them further and further.
ORAZIO (CONT'D)
I’m not surprised to see you
though! Some people; you just knew
somehow they would be all right.
You are stubborn! I am stubborn
too. I am so stubborn, I never
leave it here! I traveled only once
in twenty years to Giulino, Azzano
to beat the corpse of Mussolini
with my own hands. Those of us
here, my colleagues, we are
anarchisti, the resistance. No one
knows the quarries like us. We led
members of the Esercito Nazionale
Repubblicano into the caves here,
captured them, dropped stones on
them.
They come upon a beautiful alcove of dark stone.
ORAZIO (CONT'D)
Here we are... It’s beautiful, no?
The channeling will be done here in
one month. If you like it, we can
have it fixed and ready for you in
April.
VAN BUREN is once again enchanted. He walks all around it,
presses his cheek to it. It’s sensual, fetishistic.
VAN BUREN
It’s beautiful. Exactly as you
described, László.
ORAZIO
If you like, I tell the boys and we
bring it to my atelier when the
stone is cut.
LÁSZLÓ
We like it.
120 INT. ORAZIO’S ATELIER - NIGHT 120
CUE: Mina’s “You are my destiny.’ The lively music blasts
through the space, an echo chamber.
Surrounded by magnificent classical and modernistic
sculptures in various stages of completion, a group of local
artisans and masons drink copious amounts of digestivo at the
back of the atelier and dance together. Everyone sings along
in improper English.
EVERYONE
(sings)
You are my destiny
you are that's what to me
You are my happiness
That's what you are
You have my sweet caress
You share my loneliness
You're more than life to me
That's what you are
Heaven and heaven alone
Can take your love from me....
ANGLE ON -
An entranced VAN BUREN observes LÁSZLÓ from the shadows.
LONG LENS ON -
LÁSZLÓ dances with girls and boys, exhilarated. He sings!
LÁSZLÓ
(sings)
'Cause I'd be a fool
To ever leave you dear
And a fool I'd never be
You are my destiny
You share my reverie
You're more than life to me
That's what you are.
LÁSZLÓ abruptly excuses himself from his dance partner and
walks away from the group.
ANGLE ON -
VAN BUREN follows LÁSZLÓ with his eyes.
Ratings
Scene 51 - Descent into Darkness
VAN BUREN walks past a row of statues, looking for the
toilet. He hears LÁSZLÓ breathing heavy and moves to
investigate.
VAN BUREN
(calls out)
Mr. T-oth, it’s time we return to
our quarters. Orazio has kindly
offered us a place to sleep for the
night.
VAN BUREN turns to discover LÁSZLÓ slouched against a wide
marble column in a terrible state, an unspooled pouch of hop
gear in his lap... His eyes have rolled back in his head.
He’s barely responsive.
VAN BUREN (CONT'D)
What have you done to yourself?
VAN BUREN slides his back down the column and sits next to
him displaying a casual air.
VAN BUREN (CONT'D)
It’s a shame seeing how your people
treat themselves. If you resent
your persecution, why then do you
make of yourself such an easy
target?
LÁSZLÓ cannot respond.
VAN BUREN (CONT'D)
If you act as a loafer living off
handouts, a societal leech, how can
you rightfully expect a different
result? You have so much potential
and yet you squander it.
LÁSZLÓ starts to vomit and VAN BUREN moves in behind him,
pats him on the back.
VAN BUREN (CONT'D)
Get it out. Get it out, my friend.
Below frame, VAN BUREN fusses with his belt. LÁSZLÓ gags and
coughs.
VAN BUREN (CONT'D)
It’s all right, my boy. Get it out.
VAN BUREN systematically pulls down LÁSZLÓ’s pants below
frame. He spits, and thrusts.
VAN BUREN (CONT'D)
(whispers, slurs)
Who do you think you are? You think
you’re special? You think you float
directly above everyone you
encounter because you are
beautiful? Because you are
educated?
LONG LENS ON -
LÁSZLÓ’s face is pressed against the ground. He’s too strung
out to defend himself. His eyes widen in terror.
VAN BUREN (O.S.) (CONT'D)
You’re a tramp. Shh. You’re a lady
of the night.
The assault is brief but clear.
FADE TO BLACK.
122 EXT. CARRARA MARBLE QUARRY - DAY 122
White heat. The searing image is overexposed by two stops.
HANDHELD ON -
LÁSZLÓ walks and stumbles behind his abuser who ascends the
quarry trail ahead of him. Never turning to face him, VAN
BUREN recounts...
VAN BUREN
(calls out)
You were in quite a state last
night. Orazio carried you to bed!
VAN BUREN hums Mina’s “You are my destiny.’
VAN BUREN (CONT'D)
It’s a 4 hour train to the airport
in Fiumicino so you have time for a
rest. I hope your stomach isn’t too
sensitive on aeroplanes!
123 INT. TENEMENT BUILDING - KITCHEN - DAY 123
CLOSE ON -
ERZSÉBET composes a letter to her niece in an elegant script.
A few banknotes sit in a pile to the side.
ERZSÉBET (V.O.)
My dearest Zsófia!
Mazel tov! She is so beautiful -
your spitting image!
Ratings
Scene 52 - Concrete Isolation
ULTRA-FAST MOTION -
Back in Doylestown, much time has passed. The site is active,
abuzz again.
ERZSÉBET (V.O.)
Don’t be mad but your Uncle László
insisted I enclose a few banknotes
for you and Binyamin. We hope he
won’t be offended, and that it’s
not too difficult to change these
into the local currency.
VARIOUS ANGLES ON -
- Cargo is unloaded.
- A cement mixer turns fresh concrete.
- Cement floors are polished.
- Grids of scaffolding are erected.
- Tarps are pulled over church pews in the rain.
- A large clock inside the institute ticks towards noon.
- A SLOW TILT and PAN across a cement dome.
125 INT. INSTITUTE STAIRWELL - CONSTRUCTION SITE - DUSK 125
SFX: DIEGETIC AUDIO IS MUTE.
WE STEADICAM with LÁSZLÓ and his nemesis, JIM SIMPSON, older
now, marching up a staircase through the action on-site.
LÁSZLÓ and JIM SIMPSON feverishly argue but ERZSÉBET’s voice-
over drowns out all diegetic audio.
ERZSÉBET (V.O.)
Here: I am so alone. Perhaps more
alone than I have ever been. Your
uncle has closed a door to me. The
man I married is inside but the
lock’s combination, I cannot
decipher...
126 EXT. VISTA - CONSTRUCTION SITE - DUSK 126
STEADICAM ON -
LÁSZLÓ walks with a lamp closely observing the freshly laid
concrete for the cistern
ERZSÉBET (V.O.)
He no longer attends synagogue.
When I ask him why, he will not
reply. Perhaps his own narcissism
will no longer allow him a
relationship with our community.
LÁSZLÓ ascends a staircase and arrives out of the darkness to
a picturesque sky to find...
ERZSÉBET (V.O.)
Tell me how you are. How you really
are. All our love and warmth to the
three of you.
Erzsébet
WE PAN to an exposed staircase on the horizon that leads to
nowhere.
Ratings
Scene 53 - Tensions at the Construction Site
LÁSZLÓ stands with a small group of employees explaining a
nuanced architectural detail.
LÁSZLÓ
You see this, above us?
There’s a four inch gap between flats allowing sunlight to
seep through above them.
LÁSZLÓ (CONT'D)
Measure the same distance of three
or perhaps four inches between
flats, and place each modular
section apart by that same
distance.
The CONSTRUCTION SUPERVISOR interjects...
CONSTRUCTION SUPERVISOR
This isn’t supposed to stay like
this though. We just set it here
for approximate placement.
LÁSZLÓ obsessively explains...
LÁSZLÓ
I know it’s not supposed to stay
like this but keep it like this- I
like it like this.
CONSTRUCTION SUPERVISOR
What do we do with those gaps?
LÁSZLÓ
We insert a thick sheet of glass
between them to let the light in
from above- give me some time to
think about it and I come back to
you.
LÁSZLÓ sees something in the distance which catches his
attention.
ANGLE ON -
ERZSÉBET visits the site. GORDON, visibly older, pushes the
chair.
LONG LENS ON -
A YOUNG EMPLOYEE does pull ups on some scaffolding that’s set
up around the base of the clock tower. The other young men
above him count down.
CONSTRUCTION CREW
(cheering him on)
Twenty! Nineteen! Eighteen!
Seventeen.
LÁSZLÓ comes upon them.
LÁSZLÓ
(shouts)
YOU ALL STOP THAT RIGHT NOW. WHAT’S
YOUR NAME? Are you trying to pull
the thing down and get them all
killed?!
The YOUNG EMPLOYEE’s response is inaudible.
LÁSZLÓ (CONT'D)
Your childish show-boating puts
everyone else here at risk! Are you
thick?! Are you lame?! You report
to the subcontractor. You tell him
that you’ve been let go.
A concerned ERZSÉBET observes her husband shouting at the
YOUNG EMPLOYEE. She looks up at Gordon.
ERZSÉBET
Gordon, can you get him to stop
shouting at everyone?
LONG LENS ON -
The YOUNG EMPLOYEE starts to walk off, seemingly mutters
something under his breath. An infuriated LÁSZLÓ runs after
the boy and kicks his behind. The gesture is equal parts
absurd and harrowing.
GORDON intervenes...
GORDON
What’s the problem here?
LÁSZLÓ
It’s already taken care of.
GORDON
You kicked that boy.
LÁSZLÓ
Stay out of it, Gordon.
GORDON
What’s wrong with you?
LÁSZLÓ
(shouts)
Stay out of it, I said, or you can
go with him!
GORDON
(affirmative)
You shout at me again and you’ll be
sorry.
LÁSZLÓ considers this, swallows, then doubles down...
LÁSZLÓ
(shouts)
You too! Get out of here.
LÁSZLÓ marches toward ERZSÉBET leaving GORDON behind him.
LÁSZLÓ (CONT'D)
(calls out)
Let’s go home.
ERZSÉBET
I only just arrived!
JIM SIMPSON enters the frame, on a mission, approaching
LÁSZLÓ with a stack of paperwork.
JIM SIMPSON
Mr. Toth, you and I need to talk
through these May/June cost
reports.
LÁSZLÓ throws a hand up in the air to block out the nuisance.
LÁSZLÓ
Not today, Jim!
JIM SIMPSON
You can’t just walk away every time
I step into a room, Mr. Toth!
LÁSZLÓ is maniacally defiant.
LÁSZLÓ
Honey, have I introduced you to Jim
Simpson? Jim is the boss’ lap dog
and Architectural Consultant
Extraordinaire! He designed a hotel
in Stamford.
ERZSÉBET
László, that’s enough!
LÁSZLÓ
There must be an unpaid parking
meter around here somewhere, Jimmy!
Be vigilant! Keep your eyes peeled!
Ratings
Scene 54 - Turbulent Drive
LÁSZLÓ and ERZSÉBET are en route back to Manhattan. There is
a palpable tension between them. LÁSZLÓ breaks the silence.
LÁSZLÓ
(cold)
What is it?
ERZSÉBET
It was unnecessary how you treated
that boy is all.
LÁSZLÓ
Their safety is my priority.
ERZSÉBET
(despondent)
And Gordon, don’t even get me
started.
ERZSÉBET thinks, continues...
ERZSÉBET (CONT'D)
It is not what you said to that
young man, it is how.
LÁSZLÓ
Would you like us to wait around
another few years for another
lawsuit to resolve itself? I am
SICK of it. Do you hear me?!
Beat.
LÁSZLÓ (CONT'D)
I finish THIS or WE are finished.
ERZSÉBET shouts.
ERZSÉBET
Speak for yourself! I am NOT
finished. Living with you is
impossible. You’ve become a selfish
old bastard right before my very
eyes!
LÁSZLÓ
Don’t say something you’ll regret
in the morning.
ERZSÉBET hits him hard causing the car to swerve.
LÁSZLÓ (CONT'D)
You want to kill us?
ERZSÉBET
I’d get out of the car and march
all the way back to Manhattan if I
could, you egotistic scoundrel.
There is NO REASON for me to be
here. I am here for you! I could do
my ridiculous job ANYWHERE! Do you
think I went to university to write
about lipsticks! Shame on you.
LÁSZLÓ
WE CAME BECAUSE IT WAS OUR ONLY
OPTION! Attila was here-
ERZSÉBET
WHO YOU REFUSE TO SEE!
LÁSZLÓ
Ask him about that. Did he tell you
that he kicked me to the street
like a dog?
She is silent.
LÁSZLÓ (CONT'D)
His bitch wife accused me of making
a pass at her.
ERZSÉBET
You would never do that.
LÁSZLÓ
I did NOT do that.
ERZSÉBET
Why would she say such a thing?
LÁSZLÓ
Because they do not want us here.
ERZSÉBET
Of course Attila wants us here.
LÁSZLÓ
Not Attila.
ERZSÉBET
Who do you mean?
LÁSZLÓ
The people here, they do not want
us here. Audrey, Attila’s Catholic
wife DOES NOT WANT US HERE. We are
nothing. Worse than nothing.
ERZSÉBET weeps.
ERZSÉBET
You poor man. My poor husband.
What’s been robbed of you-
Ratings
Scene 55 - Night Terrors and Tenderness
ERZSÉBET howls in pain, a recurring night terror.
ERZSÉBET
(cries out)
Zsófia!
LÁSZLÓ tries to calm her.
LÁSZLÓ
She’s gone, darling. She isn’t
here. You must calm yourself.
You’ve worked yourself up is all.
ERZSÉBET
I am in pain. I am close to death.
LÁSZLÓ
You are not. I am so sorry I upset
you.
ERZSÉBET weeps trembles. It’s like an exorcism.
ERZSÉBET
Get me my pills, it’s too much.
130 INT. TENEMENT BUILDING - BATHROOM - CONTINUOUS 130
HANDHELD ON -
The energy is frantic. She’s wailing in the other room. He
rifles through the medicine cabinet, opens her pill box. A
half a pill drops out of an otherwise empty bottle.
LÁSZLÓ
(calls out)
There is only a pill, cut in
halves! Do you keep some in your
purse?
She cries out again in pain.
131 INT. TENEMENT BUILDING - BEDROOM - MOMENTS LATER 131
LÁSZLÓ enters.
LÁSZLÓ
There is only half. Do you keep
more in your purse?
ERZSÉBET shakes her head.
ERZSÉBET
(weeps)
What will I do? The pain won’t stop
coming.
132 INT. TENEMENT BUILDING - BATHROOM - CONTINUOUS 132
BIRD’S-EYE VIEW ON -
LÁSZLÓ re-enters. He pulls down his toiletry pouch from the
top of the medicine cabinet. He pulls out a spoon and
dropper.
133 INT. TENEMENT BUILDING - BEDROOM - MOMENTS LATER 133
ERZSÉBET writhes on the bed. LÁSZLÓ enters.
LÁSZLÓ
I found something.
She can’t respond. He sits beside her and prepares a vein.
LÁSZLÓ (CONT'D)
It’s what they gave me on the boat
for my broken face-
He makes the injection.
LÁSZLÓ (CONT'D)
Shh. You’ll feel better soon, just
listen to my voice, dear.
A trance-like calm comes over her. He then prepares himself a
dose.
CROSS DISSOLVE:
134 INT. TENEMENT BUILDING - BEDROOM - MORNING 134
LÁSZLÓ lies in his wife’s arms like a child. The light is
beautiful. He looks up at her. She’s like an angel.
ERZSÉBET
(whispers)
Do you have more?
135 INT. TENEMENT BUILDING - KITCHEN - LATER 135
LÁSZLÓ closes the blinds to keep out the harsh afternoon
sunlight.
Ratings
Scene 56 - From Love to Despair
The room is very dark. The two of them make love. A cock, an
elbow, an arched back. An intense, physical dream.
LÁSZLÓ
(Hungarian)
I love you.
ERZSÉBET
Keep going. Harder.
Score for Piano gives the sequence warmth, a strange feeling.
137 INT. TENEMENT BUILDING - BEDROOM - LATER 137
She’s completely out of it, moans.
ERZSÉBET
Toilet-
LÁSZLÓ stands starts to scoop her in his arms.
JUMP CUT TO:
138 INT. TENEMENT BUILDING - BATHROOM - CONTINUOUS 138
He clumsily finishes placing her on the toilet seat.
LÁSZLÓ
I’ll wait outside. Tell me when you
need me.
JUMP CUT TO:
139 INT. TENEMENT BUILDING - BEDROOM - MOMENTS LATER 139
LÁSZLÓ leans against the wall. After a moment...
LÁSZLÓ
Darling, have you finished?
No response. After a beat, he knocks...
LÁSZLÓ (CONT'D)
Can I come in?
He opens the door... ERZSÉBET is foaming at the mouth.
HARD CUT TO:
140 EXT. MANHATTAN HOSPITAL - NIGHT 140
LÁSZLÓ runs carrying his wife like a rag doll.
LÁSZLÓ
HELP! Someone help me! My wife is
dying!
A smoking nurse rushes to his aid.
LÁSZLÓ (CONT'D)
Please help her, she’s dying.
NURSE
She’s breathing.
In his current state, he’s like a child mourning a parental
loss.
LÁSZLÓ
I know my wife. She is dying.
NURSE
(calls out to someone off-
screen)
Get us a wheelchair, a gurney,
anything!
He reverts to Hungarian, weeps.
LÁSZLÓ
(Hungarian)
I am sorry.
Ratings
Scene 57 - Dawn of Resilience
The Marble Altarpiece is unwrapped by CREWMEN from Shibari-
style knots and canvas. After some time, ERZSÉBET’s voice
fades in over the transcendent image.
ERZSÉBET (O.S.)
(weak)
Last night, I met God and he
granted me permission to call him
by his name. It is not the first
time we have met.
BEAT.
ERZSÉBET (CONT'D)
What did you do to me, my László?
SILENCE.
LÁSZLÓ (O.S.)
(holds back tears)
It was an accident.
142 INT. HOSPITAL ROOM - DAWN 142
Fans swing on their hinges. The space is a long corridor fit
with 12 beds. ERZSÉBET is alive but exhausted.
ERZSÉBET
Do you remember everything you
confessed to me at home in our bed?
LÁSZLÓ shakes his head, ashamed.
ERZSÉBET (CONT'D)
You needn’t be ashamed, my darling.
The harm done unto us were done
only to our physical bodies.
She smiles, laughs.
ERZSÉBET (CONT'D)
You were right. This place is
rotten. The landscape. The food we
eat. This whole country is rotten.
She strokes his hand.
ERZSÉBET (CONT'D)
I’m going to Israel to be with
Zsófia and her child. I want to
become the grandmother to her that
she will, otherwise, never
encounter.
LÁSZLÓ cries.
ERZSÉBET (CONT'D)
Come home with me.
LÁSZLÓ
I will follow you until I die.
HOLD ON LÁSZLÓ... Softer, more beautiful than ever.
CROSS DISSOLVE:
143 EXT. VAN BUREN ESTATE - GATES - EVENING 143
ERZSÉBET arrives by a Philadelphia Taxi Service. The main
gates are closed so ERZSÉBET must go on foot. Her driver
steps out and helps her arrange herself with a walker.
144 EXT. VAN BUREN ESTATE - DRIVEWAY - MOMENTS LATER 144
HANDHELD ON-
ERZSÉBET breathes hard, audibly grievous, makes her way up to
the front door with her walker at a fairly steady clip.
Ratings
Scene 58 - Confrontation at the Van Buren Estate
NOTE: The following sequence is in one unbroken take until
otherwise noted.
ERZSÉBET waits in the hallway, she dabs her forehead with her
handkerchief exhausted from the walk. After a moment, MAGGIE
LEE enters to welcome her.
MAGGIE LEE
Mrs. Toth! How lovely to see you!
Do you need a hand?
ERZSÉBET
I’m all right, thank you.
MAGGIE LEE
Is Mr. Toth here, as well?
ERZSÉBET
Just me, I’m afraid.
MAGGIE LEE
To what do we owe the pleasure?
ERZSÉBET
Is your father in?
MAGGIE LEE
We were just sitting down to
dinner.
ERZSÉBET
No trouble at all. I’m happy to
wait until you’re all finished.
MAGGIE LEE furrows her brow.
MAGGIE LEE
Don’t be silly! I’ll have the
kitchen fix you a plate.
ERZSÉBET
You’re kind, Maggie, thank you.
MAGGIE LEE
Right this way.
ERZSÉBET turns and follows MAGGIE LEE ten meters to the
dining room where she finds...
146 INT. VAN BUREN ESTATE - DINING ROOM - CONTINUOUS 146
VAN BUREN and HARRY LEE are seated at the table. A few
UNRECOGNIZABLE ASSOCIATES are present, as well. They all rise
to greet her.
ERZSÉBET
Please sit.
HARRY LEE
Mrs. Toth, you’re up on your feet!
VAN BUREN regards her.
VAN BUREN
Where is László?
ERZSÉBET
He’s caught a flu. He’s recovering
at home.
HARRY LEE
That explains it! Jim Simpson
mentioned he hadn’t been on-site
since last Friday.
VAN BUREN
Shame.
ERZSÉBET
(cold)
Yes. A terrible shame.
HARRY LEE
It’s going around. Please, sit
down.
ERZSÉBET refuses to sit.
ERZSÉBET
I’m fine to stand.
HARRY LEE
Fine to stand? Is something wrong,
Mrs. Toth?
ERZSÉBET
Yes, something is wrong.
The blood runs cold.
ERZSÉBET (CONT'D)
I’ve come tonight to tell you
something that is going to be very
difficult to hear.
VAN BUREN shoots a look at her.
ERZSÉBET (CONT'D)
And for you people too. I don’t
know you but it will be difficult
for you to hear.
HARRY LEE
If this is a professional matter
then perhaps you and I should talk
in the other room.
HARRY stands.
ERZSÉBET
(calm, resolute)
Your father is a rapist.
HARRY LEE
Excuse me - whatever this is
supposed to be, I don’t like it.
I’m calling your husband to come
and fetch you.
ERZSÉBET
Your father is an evil rapist.
MAGGIE LEE believes her. HARRY rushes her.
MAGGIE LEE
Don’t push her, Harry!
VAN BUREN is silent.
ERZSÉBET
Look at him. He cannot say
anything.
MAGGIE LEE
Daddy, has something happened
between you and Mrs. Toth?
ERZSÉBET
It wasn’t me-
HARRY LEE
(shouts)
That’s enough. You come in here
making vague, laughable
accusations! I want you out of our
house this instant.
ERZSÉBET
Tell them what you did to my
husband. Tell them what you did.
MAGGIE covers her face, horrified by the accusation.
VAN BUREN
Your husband is sick. He is an
alcoholic and a drug addict. I
don’t know why he wishes to hurt
me, humiliate me.
(MORE)
VAN BUREN (CONT'D)
I have offered him nothing but
kindness. He’s a sick, senile old
dog and when dogs get sick, they
often bite the hand that’s fed them
before someone mercifully puts them
down.
VAN BUREN stands.
VAN BUREN (CONT'D)
Now, if you’ll excuse me, I’ve
withstood enough abuse for one
evening. You can tell your husband
he’s off the payroll now and
forever, as well.
ERZSÉBET explodes.
ERZSÉBET
I WILL NOT EXCUSE YOU!
HARRY starts violently dragging her out of the room.
MAGGIE LEE
(shouts)
Stop it, Harry!
ERZSÉBET
YOU ARE NOT EXCUSED, HARRISON VAN
BUREN!
HARRY muscles her all the way to the foyer.
Ratings
Scene 59 - Tension at the Van Buren Estate
He drags her all the way to the front door where she falls.
MAGGIE LEE (O.S.)
(shouts)
Stop it, Harry!
ERZSÉBET
SHAME! SHAME ON YOU!
MAGGIE LEE screams from off-screen and comes running to
ERZSÉBET’s aid.
ERZSÉBET (CONT'D)
I’m fine, Maggie. I’m fine. Can you
help me to my car? A taxi’s waiting
for me at the front.
HARRY LEE opens the door and sets her walker outside.
HARRY LEE
You never come back here, you crazy
woman.
MAGGIE gets ERZSÉBET to her feet. They stumble to the front
door and exit. HARRY LEE exhales, paces back and forth, then
walks back to the dining room. The camera follows...
148 INT. VAN BUREN ESTATE - DINING ROOM - CONTINUOUS 148
The guests are standing to leave.
HARRY LEE
I am so sorry for the bizarre
interruption.
GUEST
It’s all right, Harry. We’ll leave.
HARRY LEE
Don’t leave yet. Please.
GUEST
Your father’s gone to bed.
He turns on his shoe.
149 INT. VAN BUREN ESTATE - FOYER - CONTINUOUS 149
HARRY LEE walks back again the way he came.
HARRY LEE
(shouts)
Father! It’s over now. She’s gone!
HARRY LEE turns a corner-
150 INT. VAN BUREN ESTATE - STAIRWELL - CONTINUOUS 150
-and moves up the stairwell.
151 INT. VAN BUREN ESTATE - CORRIDOR - CONTINUOUS 151
He walks down the hallway to his father’s bedroom at the end
of the hall. He opens his father’s door. The room is empty...
He turns back the way he came then stops at his father’s
study. It’s empty, as well.
HARRY LEE
(shouts)
Dad!
He opens every door on the floor. Nothing. Nothing. Nothing.
MAGGIE LEE (O.S.)
Is he not upstairs?
HARRY LEE
(shouts)
Where the hell has he gone? Call
for him outside.
152 INT. VAN BUREN ESTATE - STAIRWELL - CONTINUOUS 152
He starts back down the stairs, increasingly panicked.
153 INT. VAN BUREN ESTATE - FOYER - CONTINUOUS 153
He crosses to the front door and exits to the driveway.
154 EXT. VAN BUREN ESTATE - DRIVEWAY 154
He calls out with increasing desperation for his father.
HARRY LEE
(shouts)
DAD!
MAGGIE LEE (O.S.)
DADDY?! Can you hear us?!
NOTE: End of continuous take.
155 EXT. VAN BUREN ESTATE - FOREST - DAWN 155
ULTRA-WIDE ON -
Snow falls on a search team made up of LOCAL VOLUNTEERS; each
individual spread 10 meters apart combs the area for any sign
of VAN BUREN.
LOCAL VOLUNTEERS
HARRISON!
156 EXT. VISTA - CONSTRUCTION SITE - DUSK 156
The austere beauty of LÁSZLÓ’s design is revealed through the
following series of angles...
- TRACK RIGHT with the volunteers as they move across the
site navigating these modern ruins.
157 EXT. INSTITUTE CORRIDORS - SAME 157
VARIOUS SHOTS -
The search party use flashlights to investigate the
institute...
158 INT. CISTERN - SAME 158
WE TRACK BEHIND a group of volunteers as they walk the
perimeter of the RAINWATER HARVESTING SYSTEM below grade.
LOCAL VOLUNTEERS
HARRISON!
159 INT. CHAPEL - SAME 159
WE PUSH IN ON a single volunteer as she walks past the marble
altarpiece. It’s a thing of extraordinary beauty.
VOLUNTEER (O.S.)
We’ve got something down here!
The sun forms a sign of the cross as LÁSZLÓ so frequently
demonstrated in his model, and WE TILT UP to snow falling
from above which has blown in from outside.
INSERT TITLE:
160 160
EPILOGUE
THE FIRST ARCHITECTURE BIENNALE
VENICE, ITALY 1980
FADE IN:
Ratings
Scene 60 - A Tribute to Legacy
A SERIES OF ANGLES establish the city of Venice in the
evening.
162 INT. GIARDINI - ARCHITECTURE BIENNALE - NIGHT 162
A lavish Opening Night Gala event is in full swing. A small
crowd is gathering around the Giardini’s Israeli Pavilion.
163 INT. CENTRAL PAVILION - MAIN GALLERY - SAME 163
WE TRACK LEFT with a middle-aged woman (ZSÓFIA) pushing an
elderly man (LÁSZLÓ) in a wheelchair. They pass row after row
of ornate architectural models.
ZSÓFIA
They look beautiful like this,
don’t you think?
LÁSZLÓ nods, too frail to speak.
164 INT. CENTRAL PAVILION - SOUTH GALLERY - MOMENTS LATER 164
LÁSZLÓ puts his hand up to stop ZSÓFIA from exiting the room.
He observes a projection of a macro-tour of his model work
playing large on the gallery wall.
ZSÓFIA
The director would like to speak
with you before the ceremony. We
should go.
165 INT. ISRAELI PAVILION - LATER 165
ZSÓFIA cries through her speech.
ZSÓFIA
My uncle is, above all, a
principled artist. His lifelong
ambition was not only to define an
epoch but to transcend all time.
She smiles.
ZSÓFIA (CONT'D)
In his memoirs, he described his
designs as machines with no
superfluous parts, that at their
best, at his best, possessed an
immoveable core; a “Hard Core of
Beauty.”
ANGLE ON -
A variety of models for both unrealized and actualized
projects. The floor is littered with his life’s work.
ZSÓFIA (CONT'D)
A way of directing their
inhabitant’s perception to the
world as it is. The inherent laws
of concrete things such as
mountains and rock define them.
They indicate nothing. They tell
nothing. They simply are.
BACK TO -
ZSÓFIA changes course.
ZSÓFIA (CONT'D)
Born in 1911 in a small fishing
village in Austria-Hungary, László
Toth looked out upon the Adriatic
Sea. He was a boy with eyes wide
open, full of yearning. New borders
would eventually rip this expanse
of sea away from him but never did
he cease to try and fill its void.
ZSÓFIA refers to her notes.
ZSÓFIA (CONT'D)
Forty years later, he survived the
camps at Buchenwald, as did his
late wife, and myself, in Dachau.
His first American masterpiece, the
Van Buren institute outside of
Philadelphia, remained unfinished
until 1973.
(MORE)
ZSÓFIA (CONT'D)
The building referenced his time at
Buchenwald as well as the deeply
felt absence of his wife, my Aunt
Erzsébet.
ANGLE ON -
Architectural models of Buchenwald, Dachau, and the Van Buren
institute, side-by-side. The Biennale exhibit display their
similarities and differences.
ZSÓFIA (O.S.) (CONT'D)
For this project, he re-imagined
the camp’s claustrophobic interior
cells with precisely the same
dimensions as his own place of
imprisonment, save for one
electrifying exception; when
visitors looked 20 meters upwards,
the dramatic heights of the glass
above them invited free thought;
freedom of identity. He further re-
imagined Buchenwald and his wife’s
venue of imprisonment in Dachau on
the same grounds, connected by a
myriad of corridors-
PUSH IN ON ZSÓFIA -
ZSÓFIA (CONT'D)
-re-writing their history and
transcending space and time so that
he and Erzsébet would never be
apart again.
ZSÓFIA concludes by looking directly at her uncle in the main
row...
ZSÓFIA (CONT'D)
(smiles and weeps)
Uncle, you and Aunt Erzsébet once
spoke for me, I speak for you now,
and I am honored.
Her voice cracks with heartbreak.
ZSÓFIA (CONT'D)
“Don’t let anyone fool you, Zsófia”
he would say to me as a struggling
young mother during our first years
in Jerusalem, “no matter what the
others try and sell you, it is the
destination, not the journey.”
HOLD ON LÁSZLÓ, a man at the end of his life at the beginning
of a new epoch.
‘THE BRUTALIST’
©2020
AN ANACHRONISTIC DIGITAL VIDEO MONTAGE OF MID-CENTURY ARCHITECTURAL
MASTERPIECES FROM ALL OVER THE WORLD (INCLUDING HOLOCAUST MEMORIAL
SITES SUCH AS YAD VASHEM IN ISRAEL AND THE YUGOSLAVIAN SPOMENIK WAR
MEMORIALS) ROLLS UNDER END CREDITS.
IT CONCLUDES WITH OUR SETS FOR ‘THE BRUTALIST’ BEING CONSTRUCTED AND
ERECTED; A MONUMENT TO THE PAST.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
zsÓfia | Zsófia's character arc begins with her as a silent, haunted figure, burdened by her past and reluctant to engage with her emotions. Throughout the screenplay, she gradually opens up, revealing her strength and resilience. Her journey is marked by moments of introspection and connection with others, particularly as she navigates her relationship with her uncle's legacy. By the climax, Zsófia transforms into a more assertive and emotionally expressive individual, ultimately delivering a powerful speech that encapsulates her growth and acceptance of her past. This transformation allows her to reclaim her voice and agency, culminating in a sense of closure and hope for the future. | While Zsófia's character arc is compelling, it may benefit from more explicit moments of conflict and resolution that highlight her internal struggles. The transition from a silent, haunted figure to a more expressive character could be more gradual, with specific events or interactions that catalyze her emotional growth. Additionally, her humor, while a nice contrast, could be further developed to show how it serves as a coping mechanism for her trauma, adding depth to her character. | To improve Zsófia's character arc, consider incorporating key scenes that showcase her vulnerability and the impact of her past on her present interactions. Introduce a mentor or confidant who encourages her to confront her emotions, providing a catalyst for her growth. Additionally, explore her humor more deeply, perhaps through flashbacks or conversations that reveal how she uses it to mask her pain. Finally, ensure that her transformation feels earned by including setbacks or challenges that test her resilience, ultimately leading to a more satisfying and believable resolution. |
erzsÉbet | Erzsébet's character arc begins with her as a resilient caretaker, deeply invested in her family's well-being. As the story progresses, she faces increasing health challenges and marital strife, leading her to confront her own vulnerabilities and the reality of her relationship with László. This confrontation catalyzes her transformation from a supportive figure to a more assertive individual who demands respect and understanding. By the climax, Erzsébet embraces her strength, advocating for her needs and desires while still nurturing her family bonds. Ultimately, she emerges as a more empowered version of herself, having learned to balance her compassion for others with self-advocacy. | While Erzsébet's character is rich and multifaceted, her arc could benefit from clearer moments of growth and change. The transition from a supportive caretaker to an assertive individual feels somewhat abrupt and could be better developed. Additionally, her emotional struggles, while poignant, may risk overshadowing her resilience if not balanced with moments of triumph or joy. | To improve Erzsébet's character arc, consider incorporating more scenes that highlight her gradual empowerment. For instance, show her taking small steps towards asserting herself before the major confrontations with László. Additionally, intersperse moments of joy and connection with her family to reinforce her resilience and the importance of relationships in her life. This balance will create a more dynamic and relatable character journey, allowing the audience to witness her growth in a more nuanced way. |
lÁszlÓ | László's character arc begins with him as a desperate and conflicted refugee, struggling to find his place in a new country while grappling with the pain of separation from his wife. As the story progresses, he faces various challenges that force him to confront his past traumas, including addiction and feelings of inadequacy. Through interactions with family and colleagues, László begins to rediscover his passion for architecture, using it as a means of healing and self-expression. His journey is marked by moments of defiance against authority and a growing sense of integrity as he stands up for his artistic vision. By the end of the screenplay, László emerges as a more resilient and self-aware individual, having reconciled with his past and embraced his identity as both a husband and an architect, ultimately finding hope and purpose in his work and relationships. | While László's character arc is rich and layered, it may benefit from a clearer trajectory that emphasizes his transformation. The screenplay presents a compelling journey of self-discovery, but at times, the shifts in his emotional state can feel abrupt or underdeveloped. Additionally, the balance between his struggles and moments of triumph could be more evenly distributed to enhance the emotional impact of his journey. The character's interactions with others are crucial in showcasing his growth, but some relationships may need further exploration to fully realize their significance in his arc. | To improve László's character arc, consider incorporating more pivotal moments that clearly illustrate his transformation. This could include specific scenes that highlight his decision-making process and the consequences of his choices, allowing the audience to witness his growth in real-time. Additionally, deepening the relationships with key characters, such as Erzsébet and Zsófia, can provide more emotional stakes and context for his journey. Introducing a mentor or a supportive figure who challenges László's perspectives could also facilitate his growth and add depth to his interactions. Finally, ensuring that his struggles and victories are balanced throughout the screenplay will create a more cohesive and impactful character arc. |
erzsébet | Erzsébet's character arc begins with her as a protective matriarch, dedicated to her family and navigating their emotional struggles. As the story progresses, she faces personal challenges, including her health issues and the strain in her marriage, which force her to confront her vulnerabilities. Throughout the screenplay, Erzsébet evolves from a caregiver who prioritizes others' needs to a woman who learns to assert her own desires and confront powerful figures, ultimately finding her voice and reclaiming her agency. By the end of the feature, Erzsébet emerges as a more empowered individual, having reconciled her past and present, and ready to embrace new beginnings with hope and determination. | While Erzsébet's character is rich and complex, her arc could benefit from clearer milestones that highlight her transformation. The emotional depth she exhibits is compelling, but the screenplay may risk losing focus on her journey if it does not consistently tie her personal struggles to the overarching narrative. Additionally, her moments of vulnerability could be more pronounced to create a stronger contrast with her resilience, making her eventual empowerment more impactful. | To improve Erzsébet's character arc, consider incorporating specific turning points that challenge her beliefs and force her to confront her fears. For instance, introducing a pivotal moment where she must choose between her family's expectations and her own desires could deepen her internal conflict. Additionally, enhancing her interactions with other characters, particularly those who challenge her views, could provide opportunities for growth and self-discovery. Finally, ensuring that her emotional journey is woven throughout the screenplay will help maintain focus on her development, making her eventual triumph feel earned and satisfying. |
lászló | László's character arc begins with him as a determined and resourceful architect, focused on his work and navigating the challenges of being a refugee. As he becomes more involved in the construction project at the Van Buren Estate, he experiences a range of emotions, from hope and nostalgia to frustration and vulnerability. His interactions with Erzsébet and his son reveal his internal conflicts and emotional struggles. Throughout the screenplay, László evolves from a reserved and pragmatic individual to a more emotionally open and introspective character. By the climax, he confronts his past mistakes and learns to embrace change, ultimately finding a balance between his professional aspirations and personal relationships. The resolution sees him transformed, having gained a deeper understanding of himself and his loved ones, leading to a renewed sense of purpose and hope for the future. | László's character arc is compelling and rich, showcasing a journey of emotional growth and self-discovery. However, there are moments where his internal conflicts could be more explicitly tied to the external plot, allowing the audience to see how his personal struggles impact his decisions and relationships. Additionally, while his emotional depth is well-established, there are instances where his motivations could be clearer, particularly in moments of crisis. This could enhance the audience's connection to his character and make his journey more relatable. | To improve László's character arc, consider incorporating more scenes that explicitly link his emotional struggles to the external conflicts he faces. For example, moments where his dedication to the construction project directly impacts his relationship with Erzsébet or his son could heighten the stakes and deepen the audience's investment in his journey. Additionally, providing clearer motivations for his actions during moments of crisis could enhance his relatability. Introducing a mentor or confidant character who challenges László's perspectives could also facilitate his growth and provide opportunities for reflection. Finally, ensuring that his emotional evolution is mirrored in his professional achievements would create a more cohesive and satisfying arc. |
attila | Attila begins as a supportive and loyal cousin, providing emotional and practical support to László. As the story progresses, he becomes more involved in the business side of their furniture projects, showcasing his resourcefulness and charm. However, a pivotal moment occurs when he confronts László about a perceived betrayal, leading to a temporary rift in their relationship. This confrontation forces Attila to reevaluate his priorities and the importance of honesty in their partnership. By the end of the feature, Attila emerges as a more assertive and self-aware individual, having learned to balance his eagerness to please with the need for open communication and trust in his relationships. | While Attila's character arc is compelling, it could benefit from a clearer progression of his emotional journey. The transition from a supportive cousin to a confrontational figure feels abrupt and may leave audiences wanting more depth in his motivations. Additionally, the resolution of his conflict with László could be more fleshed out to provide a satisfying conclusion to his character development. | To improve Attila's character arc, consider incorporating more scenes that showcase his internal struggles and the buildup to his confrontation with László. This could involve moments of self-doubt or instances where he feels overshadowed by László's talent. Additionally, providing a more gradual resolution to their conflict, perhaps through a series of reconciliatory conversations, would allow for a richer exploration of their relationship. Finally, highlighting Attila's growth in communication skills and assertiveness in business dealings could reinforce his development as a character who learns to balance loyalty with honesty. |
audrey | Audrey begins as a supportive wife who is primarily focused on her husband Attila and his needs. As the story progresses, she becomes increasingly involved in László's life, helping him navigate his challenges and encouraging him to embrace his potential. Through her interactions with László, Audrey discovers her own aspirations and desires, leading her to confront her own identity beyond being Attila's wife. By the end of the feature, she emerges as a more independent and self-assured individual, having found a balance between supporting her husband and pursuing her own creative interests. | While Audrey's character is well-rounded and offers a strong emotional anchor in the story, her arc could benefit from more explicit moments of personal conflict or growth. Currently, her development feels somewhat secondary to László's journey, which may dilute her impact as a central character. Additionally, her transition from a supportive role to one of self-discovery could be more pronounced, with clearer stakes and challenges that force her to confront her own ambitions. | To enhance Audrey's character arc, consider introducing specific challenges that directly impact her sense of identity and purpose. For example, she could face a dilemma that forces her to choose between supporting Attila's ambitions and pursuing her own creative projects. Incorporating scenes that highlight her internal struggles and moments of realization would deepen her character development. Additionally, allowing her to take more initiative in her interactions with László could showcase her growth and assertiveness, making her journey more compelling and relatable. |
gordon | Gordon's character arc begins with him as a supportive figure, helping László with practical tasks and emotional struggles. As the story progresses, he becomes increasingly aware of the negative impact of his enabling behavior on László's life. This realization leads him to confront his own issues, including his past losses and the consequences of their shared drug use. By the climax, Gordon must make a pivotal choice: to continue supporting László in his destructive path or to take a stand for both their sakes. Ultimately, he chooses to prioritize László's well-being over their camaraderie, leading to a moment of personal growth and resilience. In the resolution, Gordon emerges as a more self-aware individual, having learned the importance of setting boundaries and seeking help for himself, while still maintaining his compassionate nature. | Gordon's character arc is compelling, but it risks becoming too predictable if not handled with nuance. While his journey from enabler to a more self-aware individual is relatable, the screenplay should ensure that his transformation feels earned and not abrupt. The balance between his supportive nature and his struggles with enabling behavior needs to be delicately portrayed to avoid making him appear one-dimensional. Additionally, the emotional stakes could be heightened by exploring the consequences of his actions more deeply, particularly how they affect his relationship with László and his own mental health. | To improve Gordon's character arc, consider incorporating more moments of internal conflict where he grapples with his enabling behavior versus his desire to help. This could involve flashbacks to his past losses that inform his current actions, adding depth to his motivations. Additionally, introducing a mentor or a friend who challenges Gordon's perspective could create tension and facilitate growth. It would also be beneficial to show the impact of his choices on László more explicitly, perhaps through a pivotal scene where László's situation worsens due to Gordon's support. Finally, ensure that Gordon's resolution feels authentic by allowing him to seek help or support for himself, reinforcing the theme of personal growth and the importance of self-care. |
harry lee | Harry Lee's character arc follows a trajectory from a well-meaning son seeking to honor his father through a library renovation to a more complex figure grappling with his insecurities and the consequences of his assertive nature. Initially, his enthusiasm and desire to surprise his father drive him, but as he becomes embroiled in the community center project, his focus shifts to ambition and control. This leads to confrontations with László and others, forcing Harry to confront the impact of his manipulative tendencies. By the end of the screenplay, Harry experiences a moment of self-reflection, recognizing the importance of collaboration and understanding over mere efficiency, ultimately leading to a more balanced approach in his dealings with others. | While Harry Lee's character arc presents a compelling journey from enthusiasm to ambition and eventual self-reflection, it risks becoming too one-dimensional if not carefully developed. His initial motivations may be overshadowed by his confrontational nature, making it difficult for the audience to empathize with him. Additionally, the transition from a well-meaning son to a manipulative businessman could benefit from more nuanced moments that highlight his internal struggles and vulnerabilities. | To improve Harry Lee's character arc, consider incorporating more scenes that showcase his internal conflict and the emotional stakes involved in his relationships, particularly with his father and László. Adding moments of vulnerability or doubt could help humanize him and make his eventual self-reflection more impactful. Additionally, introducing a mentor or ally who challenges his approach could provide opportunities for growth and deeper exploration of his character. Finally, ensuring that his motivations remain relatable throughout the screenplay will help maintain audience engagement and empathy. |
van buren | Van Buren's character arc begins with him as a respected authority figure, deeply entrenched in his community and driven by a desire to leave a legacy. As the story unfolds, he faces challenges that force him to confront his past mistakes and the consequences of his manipulative behavior. Initially, he uses his power to maintain control and protect his reputation, but as he interacts with László and others, he begins to experience moments of vulnerability and reflection. This leads to a gradual transformation where he starts to recognize the importance of genuine connections and the impact of his actions on those around him. Ultimately, Van Buren must choose between clinging to his authoritative facade or embracing a more authentic self, culminating in a moment of redemption or downfall that defines his legacy. | While Van Buren's character is rich and complex, the duality of his nature can sometimes feel disjointed, making it challenging for the audience to fully empathize with him. His transition from a supportive figure to a manipulative antagonist lacks sufficient buildup, which may leave viewers confused about his motivations. Additionally, the moments of vulnerability could be more pronounced to create a stronger emotional connection with the audience, allowing them to see the internal struggle he faces. | To improve Van Buren's character arc, consider providing more gradual development of his darker traits, allowing the audience to witness the subtle shifts in his behavior over time. Incorporating flashbacks or dialogues that reveal his past relationships and regrets could deepen the audience's understanding of his motivations. Additionally, creating pivotal moments where he must choose between manipulation and authenticity can heighten the stakes and make his eventual transformation more impactful. Finally, ensuring that his moments of vulnerability are interspersed throughout the narrative will help maintain a balance between his authoritative persona and his internal conflicts. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Dialogue Quality and Emotional Impact Correlation | Scenes with higher dialogue scores (8 or above) tend to have higher emotional impact scores, except for a few outliers. Scenes 11, 12, 26, 35, 38, and 60 show a significant drop in emotional impact despite relatively high dialogue scores. This suggests a potential disconnect between the dialogue's quality and its ability to evoke strong emotions in those specific scenes. Re-examine these scenes for inconsistencies; the dialogue might be well-written but not emotionally resonant within the context of the scene. The potential issue might be in the delivery or the emotional beats not being fully expressed through the words. |
Reflective Tones and Lower Conflict/High Stakes | Scenes with prevalent 'Reflective' tones (appearing in the tone description multiple times) frequently show lower scores in 'Conflict' and 'High Stakes'. This is expected to some extent; however, scenes like 23, 36, and 57, which have strong overall scores, indicate that reflective scenes can be highly effective, even without high-stakes conflicts. The key seems to lie in how well the reflection deepens character understanding and emotional resonance. Maintain this balance to create a more impactful reflection while building overall tension to drive the story forward. |
Tense Scenes and Emotional Impact | Many scenes with 'Tense' tones achieve high emotional impact. Scenes 15, 17, 40, 43, 47, 51, 53, 54, 58, and 59 stand out. This reinforces the effectiveness of creating tension to raise the emotional stakes. This is a strength of your writing; utilize this technique strategically to create powerful moments throughout the screenplay. |
High Concept/Plot Scores but Lower Emotional Impact | Several scenes (e.g., 6, 7, 8, 9, 20, 22, 27, 37, 44, 50) have high scores for concept and plot but comparatively lower scores for emotional impact. This indicates that while the plot and ideas are strong, the emotional connection might be lacking. Consider focusing on enhancing the emotional resonance in these scenes without compromising the core narrative. |
Character Change and Overall Scene Grade | There's a moderate positive correlation between the 'Character Changes' score and the Overall Grade. However, this is not as strong as expected, suggesting that while character development is valuable, it may not be the primary driver of overall scene effectiveness. Ensure significant character changes are not just present but are also impactful, advancing the plot and emotional arc. |
Informative Scenes and Lower Emotional Impact | Scenes with 'Informative' in their tone description tend to have lower emotional impact scores (e.g., 9, 11, 26). While information is essential, ensure this information is integrated within emotionally impactful scenes or consider restructuring to increase their emotional relevance. |
Light-Hearted/Humorous Scenes and Low Emotional Impact | Scenes 12, 38, and 42, characterized by light-hearted or humorous tones, have significantly lower emotional impact scores. This highlights a clear distinction between light moments and emotionally powerful ones. Consider how these light-hearted scenes can contribute to the overall emotional arc, possibly by providing relief or contrast to more intense moments. |
High Scores in Final Scenes | The final scenes (57, 58, 59, 60) exhibit high scores across multiple categories, especially in emotional impact and conflict/high stakes. This suggests a strong and effective climax, effectively building up the tension and delivering a satisfying emotional resolution. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in storytelling, showcasing a talent for creating emotionally resonant scenes, complex characters, and nuanced dialogue. The writer displays a unique voice and originality, evident in their ability to craft atmospheric tension and thematic depth. However, there's room for growth in structural consistency, pacing, and further refining dialogue to maximize impact and clarity. The recurring strengths lie in creating compelling character interactions and emotionally charged moments, though these are sometimes underdeveloped due to structural or pacing issues.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'The Screenwriter's Bible' by David Trottier | This book provides comprehensive guidance on screenplay structure, formatting, and industry standards, addressing a recurring theme in the scene analyses. |
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This classic text offers valuable insights into scene structure, character development, and plot dynamics, complementing Trottier's 'Bible' and directly addressing several key improvement areas. |
Book | 'The Anatomy of Story' by John Truby | Truby's book delves into character development and narrative structure at a deeper level, offering advanced techniques to enhance the emotional depth and complexity of characters and their relationships. |
Screenplay Collection | Read screenplays by diverse writers known for strong dialogue (e.g., Aaron Sorkin, David Mamet, Charlie Kaufman, Billy Wilder), focusing on those with similar themes to your work. | Studying varied styles will expose the writer to different approaches to dialogue, character development, and structuring scenes, enhancing their unique voice while learning from masters. |
Video | Watch behind-the-scenes footage of films known for strong emotional storytelling and impactful action scenes, paying attention to directorial choices and actor performances. | This will provide valuable insights into translating the writer's vision from page to screen. |
Course | Consider taking a screenwriting course focusing on advanced dialogue writing or character arc development. | Structured learning with feedback from experienced instructors can address specific weaknesses and refine the writer's craft. |
Stories Similar to this one
Story | Explanation |
---|---|
The Pianist | Both stories revolve around a Jewish protagonist navigating the horrors of war and displacement. The emotional depth and struggle for survival in a foreign land resonate strongly, as well as the themes of identity and the longing for home. |
Brooklyn | This film explores the immigrant experience in America, focusing on a young woman's journey from her homeland to a new life. The themes of love, identity, and the challenges of adapting to a new culture parallel László and Erzsébet's experiences. |
The Immigrant | Similar to the screenplay, this film tells the story of a Polish woman who arrives in America and faces numerous hardships. The exploration of identity, survival, and the complexities of relationships in a new world are central themes in both narratives. |
A Tree Grows in Brooklyn | This classic novel depicts the struggles of a young girl and her family in early 20th-century Brooklyn. The themes of poverty, resilience, and the pursuit of dreams amidst adversity echo the experiences of László and his family. |
The Book Thief | Both stories are set against the backdrop of World War II and focus on the impact of war on individuals and families. The themes of loss, survival, and the power of storytelling to cope with trauma are prevalent in both narratives. |
The Kite Runner | This novel explores themes of friendship, betrayal, and redemption against the backdrop of Afghanistan's tumultuous history. The emotional depth and the protagonist's journey to reconcile with his past resonate with László's struggles and his longing for his family. |
The Good Lord Bird | This story features a young protagonist navigating a tumultuous historical landscape, dealing with themes of identity, survival, and the complexities of human relationships, similar to László's journey in the screenplay. |
The Nightingale | Set during World War II, this novel tells the story of two sisters in Nazi-occupied France. The themes of resilience, sacrifice, and the fight for survival in the face of oppression parallel the struggles faced by László and Erzsébet. |
The Help | This film explores the lives of marginalized individuals in a historical context, focusing on themes of identity, resilience, and the fight for dignity. The emotional connections and struggles for acceptance resonate with the experiences of the characters in the screenplay. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Haunted Past | Zsófia appears haunted and brutalized, reflecting the trauma of her past experiences. | This trope involves characters who are deeply affected by their past traumas, often leading to emotional struggles in the present. An example is the character of Bruce Wayne in 'Batman Begins,' who is haunted by the murder of his parents. |
The Refugee Experience | The screenplay portrays the struggles of Hungarian refugees, including László and Erzsébet, as they navigate their new lives. | This trope highlights the challenges faced by refugees, such as displacement, identity crises, and cultural adaptation. A notable example is 'The Kite Runner,' which explores the life of a boy who becomes a refugee due to war. |
Voiceover Narration | Erzsébet's voiceover provides insight into her emotional state and the struggles faced by her family. | Voiceover narration is often used to convey a character's inner thoughts and feelings, adding depth to the story. An example is 'The Shawshank Redemption,' where Andy Dufresne's voiceover reflects on hope and freedom. |
The Mentor Figure | Attila offers László guidance and support as he navigates his new life in America. | The mentor figure is a character who provides wisdom and guidance to the protagonist, helping them grow. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel valuable life lessons. |
The Love Triangle | Tension arises between László, Erzsébet, and Harry Lee, hinting at romantic complications. | A love triangle involves three characters where romantic feelings create conflict. An example is 'Twilight,' where Bella is torn between Edward and Jacob. |
The Tragic Illness | Erzsébet suffers from health issues, adding emotional weight to the narrative. | This trope involves a character dealing with a serious illness, often leading to poignant moments and character development. An example is 'The Fault in Our Stars,' where Hazel grapples with cancer. |
The Cultural Clash | László and his family face challenges adapting to American culture. | This trope explores the differences between cultures and the misunderstandings that arise. An example is 'My Big Fat Greek Wedding,' which highlights the comedic aspects of cultural differences. |
The Redemption Arc | László seeks to redeem himself after past mistakes and struggles. | A redemption arc involves a character seeking forgiveness and making amends for their past actions. An example is Tony Stark in 'Iron Man,' who evolves from a self-centered billionaire to a hero. |
The Emotional Reunion | László and Erzsébet share an emotional reunion after being separated. | This trope involves characters reuniting after a long separation, often leading to emotional catharsis. An example is the reunion of E.T. and Elliott in 'E.T. the Extra-Terrestrial.' |
The Mentor's Fall | László's mentor figure, Attila, faces challenges that impact László's journey. | This trope involves a mentor figure who experiences a downfall, affecting their mentee's growth. An example is Mr. Keating in 'Dead Poets Society,' whose unconventional teaching methods lead to tragic consequences. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Redemption and Self-Discovery | László's journey from a traumatized refugee struggling with addiction and self-doubt to a respected architect who finds love and purpose. | This is central to the narrative. László's actions—his attempts to pickpocket, his drug use, and his initial distrust—reveal a damaged individual grappling with his past. His architectural work, his relationships, and his ultimate reconciliation with his family and himself represent his gradual process of self-redemption. | ||||||||||||
Strengthening Redemption and Self-Discovery:
| ||||||||||||||
Trauma and the Resilience of the Human Spirit | The lasting impact of war, displacement, and persecution on the Hungarian refugees, particularly László and Erzsébet, and their journey towards healing and rebuilding their lives. | The film explores the psychological and emotional toll of escaping persecution and the challenges of adapting to a new life in a foreign land. The characters' experiences showcase both the pain of trauma and their remarkable ability to endure and rebuild their lives. | ||||||||||||
Love and Family | The deep and enduring love between László and Erzsébet, their struggles to maintain their relationship amidst hardship and László's self-destructive tendencies, and their eventual reunion and reconciliation. The strong family bond with Attila, Audrey, and Zsófia further highlights the importance of familial support. | The unwavering love between László and Erzsébet forms the emotional core of the story. It's a love tested by separation, trauma, and László's flaws, but it ultimately proves resilient and restorative. The love and support received from Attila and Audrey also play crucial roles in shaping László's journey. | ||||||||||||
Immigration and Assimilation | The experiences of the Hungarian refugees navigating the challenges of immigration to America, the process of adaptation, and the struggles to find their place in a new society. | The film portrays the difficulties faced by immigrants in settling into a new country, including language barriers, cultural differences, and societal prejudices. It explores themes of displacement, longing for home, and the search for acceptance. | ||||||||||||
Architecture as a Metaphor for Life | László's architectural work acts as a reflection of his inner world, his designs mirroring his emotional state and personal growth. His architectural projects symbolize the process of creation, rebuilding, and finding beauty amidst chaos. | László's architectural designs are not just blueprints; they're symbolic representations of his own life's trajectory. The complexities and challenges of his projects mirror the complexities and challenges he faces in his personal life. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a masterful blend of realism and poetic introspection. The screenplay uses a range of stylistic choices, shifting between stark, naturalistic dialogue revealing raw emotion and vulnerability (Scenes 4, 17, 48), and atmospheric, evocative descriptions emphasizing mood and internal conflict (Scenes 1, 18). Poetic voiceovers, often from Erzsébet, provide lyrical counterpoint to the gritty realism, enhancing the emotional weight of the characters' journeys (Scenes 2, 3). The directorial choices implied – contrasting visuals, emotional crescendos through music – further underscore the emotional depth and thematic complexity. |
Voice Contribution | The writer's voice contributes to the script by creating a deeply immersive and emotionally resonant experience. The shifts in style prevent the narrative from becoming monotonous, reflecting the characters' fluctuating emotional states and the complex themes of immigration, survival, and the human condition. The blend of realism and poetic lyricism creates a sense of authenticity while maintaining an artistic sensibility. The use of Hungarian dialogue adds a layer of cultural authenticity and underscores the characters' displacement and struggle for identity in a new land. The overall effect is a richly textured narrative with considerable emotional depth and thematic resonance. |
Best Representation Scene | 1 - Silent Testimony |
Best Scene Explanation | This scene is the best representation because it showcases the writer's signature blend of stylistic elements most effectively. The sparse, emotionally charged dialogue in Hungarian, the atmospheric descriptions, the implied directorial choices prioritizing mood and atmosphere, and the focus on internal conflict and psychological tension all combine to create a scene that is both powerful and deeply evocative. It sets the tone for the entire screenplay and perfectly encapsulates the writer's unique voice. |
- Overall originality score: 9
- Overall originality explanation: The screenplay demonstrates a high level of originality through its nuanced exploration of complex themes such as identity, trauma, and the immigrant experience. The use of Hungarian language and cultural elements adds authenticity, while the diverse settings—from construction sites to intimate family moments—create a rich tapestry of human experience. The characters are well-developed, with their actions and dialogue feeling genuine and impactful, contributing to the overall originality of the narrative.
- Most unique situations: The most unique situations in the screenplay are the emotional reunion between László and Erzsébet after her struggles with health, the poignant speech by Zsófia honoring her uncle's legacy at the Architecture Biennale, and the intense confrontation between Erzsébet and the Van Buren family regarding serious accusations, which highlight the complexities of familial relationships and societal issues.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a strong sense of unpredictability through its intricate character dynamics and the unfolding of personal and societal conflicts. The emotional depth of the characters, combined with unexpected twists—such as the sudden medical crisis of Erzsébet and the confrontational moments at the Van Buren estate—keeps the audience engaged and guessing about the characters' fates. The blend of personal struggles with broader themes of immigration and trauma adds layers of unpredictability to the narrative.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Throughout the screenplay, the protagonist's internal goals evolve from a desperate need for survival and identity to a quest for connection and redemption. László grapples with his tumultuous past, strives for integrity, and yearns for familial unity as he deals with his wife Erzsébet's health and the challenges of displacement. |
External Goals | The protagonist's external goals transition from immediate survival in a foreign land to establishing a successful architectural career and building community facilities. László's journey includes navigating immigration issues, securing contracts, and creating spaces of cultural significance. |
Philosophical Conflict | The overarching philosophical conflict revolves around the tension between individual ambition and communal responsibility; László struggles to balance his desire for personal success with the need to honor his family's legacy and contribute to the community. |
Character Development Contribution: The interplay of goals and conflicts profoundly shapes László's character development, propelling him from a state of isolation and self-doubt to one of responsibility and connection, ultimately maturing him through his trials.
Narrative Structure Contribution: These elements serve as pivotal turning points in the narrative, guiding the protagonist's journey and setting the stakes for conflict resolution, which thus propels the plot forward.
Thematic Depth Contribution: The goals and conflicts imbue the screenplay with thematic richness, exploring the complexities of memory, trauma, and the interplay between individual identity and communal heritage, and illustrating the resilience of the human spirit.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a diverse range of physical environments, spanning from the stark coldness of a Vas County interview room and the cramped, dimly lit lower decks of a refugee ship to the seedy atmosphere of a brothel, the bustling streets of Philadelphia and New York City, the opulence of wealthy estates, the poverty of a soup kitchen, the picturesque serenity of a rural landscape, and the industrial grit of construction sites. Italian settings, specifically Carrara's marble quarries and Venice's Architecture Biennale, also feature prominently. The environments often reflect the characters' emotional states and social standings.
- Culture: The dominant culture is Hungarian, reflected in the language spoken by many characters, their traditions, and their experiences of displacement and persecution. Jewish culture is also significant, shown through religious services, traditions, and the role of HIAS. American culture is represented through the immigrant experience, assimilation challenges, and the contrast between the gritty underbelly and the wealthy elite. Italian culture appears through the setting in Carrara and Venice and its relation to craftsmanship and art.
- Society: The societal structure is complex and multi-layered. It contrasts the stark realities of poverty, displacement, and exploitation (seen in the refugee camps and the brothel) with the wealth and privilege of the Van Buren estate and its associated high society. The screenplay explores themes of class disparity, social hierarchies, the challenges of immigration, and the impact of historical events like World War II and the Soviet era on individuals and communities. Religious institutions (church, synagogue) play a role in providing social support and reflecting community values.
- Technology: Technological advancement is unevenly distributed. While the screenplay is set in the mid-20th century, the level of technology varies significantly depending on the setting. Some scenes feature minimal technology, reflecting the historical period and the hardship experienced by refugees and the poor. Other scenes show the use of automobiles, construction equipment, telephones, and overhead projectors, representing varying degrees of modernization. The craftsmanship of furniture making is highlighted throughout, representing a blend of old-world skills and modern design.
- Characters influence: The world's physical environments, cultural contexts, and societal structures profoundly shape the characters' experiences and actions. The harsh realities of poverty and displacement compel László to adapt and survive, while the opulence of the Van Buren estate presents both opportunities and moral dilemmas. The cultural and linguistic barriers faced by Hungarian immigrants in America influence their interactions and struggles with assimilation. Social hierarchies influence power dynamics, leading to conflict and exploitation. The characters' actions are often driven by their attempts to navigate these complex and contrasting environments.
- Narrative contribution: The world-building contributes to the narrative by establishing distinct settings that drive the plot forward. The diverse locations—from Hungary to the United States, and various social strata—offer a backdrop for László's journey of survival, adaptation, and eventual success. The contrasts between these settings heighten the dramatic tension and highlight the challenges faced by the characters. The temporal setting (post-WWII) informs the character's motivations and experiences.
- Thematic depth contribution: The world-building provides a rich context for exploring complex themes such as the immigrant experience, the effects of war and displacement, class inequality, the struggle for survival, the search for identity and belonging, and the complexities of human relationships. The contrasting environments and cultural contexts allow for a deeper examination of these themes, creating a multi-faceted and emotionally resonant narrative. The moral ambiguities present in the various settings challenge viewers to consider the ethical implications of power, wealth, and social responsibility.
central conflict
The central conflict revolves around László's struggle to adapt to life in America while dealing with the trauma of his past, the challenges of his relationships, and the pressures of his architectural career.
primary motivations
- László's desire to reunite with his wife Erzsébet and ensure her well-being.
- Erzsébet's motivation to support her family and navigate her health issues.
- Zsófia's quest for identity and stability in a new country.
catalysts
- The arrival of Erzsébet and Zsófia in America.
- László's opportunity to work on significant architectural projects.
- The emotional and physical challenges faced by Erzsébet due to her health.
barriers
- Cultural and language barriers that complicate László's integration.
- Personal demons, including László's struggles with addiction and anger.
- External pressures from clients and the architectural community.
themes
- The immigrant experience and the search for belonging.
- The impact of trauma on personal relationships.
- The intersection of art, architecture, and identity.
stakes
The stakes include the survival and well-being of László's family, the success of his architectural career, and the preservation of his family's legacy amidst the challenges of displacement.
uniqueness factor
The story uniquely intertwines personal and historical narratives, exploring the emotional depth of immigrant experiences through the lens of architecture and design.
audience hook
The emotional journey of László and his family, combined with the tension of navigating a new life in America, keeps viewers engaged.
paradoxical engine or bisociation
The paradoxical engine lies in László's dual identity as both an architect and a refugee, creating tension between his professional aspirations and personal struggles.
paradoxical engine or bisociation 2
Another bisociation could be the contrast between the beauty of architectural design and the harsh realities of displacement, highlighting the conflict between artistic vision and lived experience.
Engine: GPT4
Recommend
Executive Summary
The screenplay 'The Brutalist' presents a compelling narrative that intricately weaves themes of trauma, identity, and resilience through the lives of its characters. The character arcs of László, Erzsébet, and Zsófia are well-developed, showcasing their struggles and growth against the backdrop of post-war America. The screenplay excels in its exploration of emotional depth and architectural symbolism, though it could benefit from tighter pacing in certain sections and clearer resolutions for some character arcs. Overall, it is a poignant and thought-provoking piece that resonates with its audience.
- The screenplay effectively establishes a haunting atmosphere through its use of black and white imagery and sound design, immersing the audience in the emotional landscape of the characters. high ( Scene 1 (1) Scene 2 (2) )
- Character development is a strong point, particularly in the arcs of László and Erzsébet, who navigate their trauma and relationships with depth and nuance. high ( Scene 6 (6) Scene 14 (14) )
- The thematic exploration of architecture as a reflection of personal and collective identity is compelling and adds layers to the narrative. high ( Scene 44 (146) )
- The screenplay's structure, with its use of flashbacks and voiceovers, effectively conveys the passage of time and the weight of memory. medium ( Scene 1 (1) Scene 80 (80) )
- The emotional climax in the final scenes is powerful, providing a satisfying resolution to the characters' journeys. high ( Scene 60 (161) )
- Certain sections, particularly in the middle, feel rushed and could benefit from more detailed exploration of character interactions and emotional beats. medium ( Scene 3 (3) Scene 4 (4) )
- Some character arcs, particularly those of supporting characters, feel underdeveloped and could use more depth to enhance the overall narrative. medium ( Scene 5 (5) )
- The resolution of certain plot threads, such as the fate of Zsófia and her family, feels abrupt and could be more thoroughly addressed. high ( Scene 44 (146) )
- The pacing in the final act could be tightened to maintain momentum leading to the climax, ensuring the emotional impact is fully realized. medium ( Scene 60 (161) )
- While the thematic elements are strong, some motifs could be more consistently woven throughout the screenplay to enhance cohesion. medium ( Scene 1 (1) )
- A deeper exploration of the socio-political context of the time could enrich the narrative and provide more background for the characters' motivations. medium ( Scene 4 (4) )
- More scenes depicting the daily lives of the characters in America would help ground their experiences and make their struggles more relatable. medium ( Scene 5 (5) )
- The screenplay could benefit from additional scenes that showcase the impact of László's work on the community, reinforcing the theme of architecture as a means of healing. medium ( Scene 60 (161) )
- The emotional stakes could be heightened by including more direct conflicts between characters, particularly regarding their differing views on identity and belonging. medium ( Scene 44 (146) )
- A clearer setup of the central conflict at the beginning would help orient the audience and establish stakes from the outset. high ( Scene 1 (1) )
- The opening montage sets a powerful tone, establishing the film's visual style and thematic focus on architecture and memory. high ( Scene 1 (1) )
- The final scene's emotional resonance and thematic closure provide a satisfying culmination to the characters' journeys. high ( Scene 60 (161) )
- The use of voiceover throughout the screenplay adds depth to the characters' internal struggles and enhances the emotional weight of the narrative. medium ( Scene 5 (5) )
- The screenplay's exploration of the immigrant experience is poignant and relatable, resonating with contemporary audiences. high ( Scene 44 (146) )
- The screenplay's unique blend of personal and architectural storytelling sets it apart from typical dramas, offering a fresh perspective. high ( Scene 3 (3) )
- Character Motivations The motivations of some supporting characters, particularly those in the immigrant community, are not fully explored, leaving their arcs feeling incomplete. For example, Zsófia's transition into adulthood and her relationship with her uncle could be more fleshed out to enhance emotional stakes. medium
- Pacing Issues Certain scenes, particularly in the middle act, feel rushed and could benefit from more detailed exploration of character interactions and emotional beats. This can detract from the overall impact of the narrative. medium
Engine: Gemini
Recommend
Executive Summary
The Brutalist is a compelling and ambitious screenplay with a unique premise and strong visual style. While the narrative is engaging and the characters are well-developed, some pacing issues and a lack of clarity in certain plot points require attention. The script's strengths lie in its evocative imagery, complex characters, and exploration of trauma and resilience. Addressing the identified areas of improvement will significantly enhance the script's overall impact.
- The screenplay excels in its visual storytelling. The descriptions of settings, particularly the architectural elements, are rich and evocative, creating a strong visual identity for the film. The use of montage and specific camera angles (e.g., ultra-bowed lens) enhances the emotional impact of key scenes. high ( Scene 1 (1) Scene 2 (2) Scene 3 (3) Scene 20 Scene 39 )
- The characters are complex and multifaceted, with compelling backstories and motivations. László’s journey from traumatized refugee to accomplished architect is particularly well-drawn, exploring themes of identity, survival, and the lingering effects of past trauma. The relationships between László, Erzsébet, and Zsófia are deeply affecting. high ( Scene 14 Scene 31 Scene 32 Scene 85 )
- The screenplay effectively employs thematic tension to explore complex ideas. The themes of trauma, resilience, the immigrant experience, and the search for identity are interwoven throughout the narrative, creating a compelling and thought-provoking experience for the audience. high ( Scene 7 Scene 17 Scene 32 Scene 121 )
- The use of visual motifs and recurring imagery (e.g., the journey, architectural forms, light and shadow) adds depth and resonance to the narrative. These elements enhance the film's overall aesthetic and thematic coherence. medium ( Scene 11 Scene 25 Scene 106 )
- The screenplay concludes with a powerful and poignant scene that offers a satisfying resolution while leaving room for reflection. The final confrontation between Erzsébet and Van Buren is emotionally charged and dramatically effective. high ( Scene 60 Scene 145 )
- The pacing in the early parts of the screenplay feels uneven. Some scenes, particularly those in New York, lack focus and could be streamlined to improve the overall flow of the narrative. Some exposition could be more subtly integrated into the narrative. medium ( Scene 4 Scene 5 Scene 6 Scene 7 )
- The sexual assault scene in Orazio's atelier is important but needs more nuanced handling. The current depiction feels somewhat abrupt and lacks the emotional depth needed for such a significant event. The aftermath of this event in the following scenes needs more focus. high ( Scene 32 Scene 121 )
- The depiction of László’s drug use needs to be clarified. While the script hints at his struggles with addiction, it's not fully explored. Showing, not telling, is key here. A more focused exploration of his addiction would strengthen the character and provide additional thematic depth. medium ( Scene 75 Scene 76 Scene 77 )
- The confrontation scene in the trenches lacks clarity. While the tension is evident, the purpose and outcome of the scene are not entirely clear. This could be resolved with more focused dialogue and a stronger resolution to the conflict. medium ( Scene 94 )
- The use of Erzsébet’s voiceover in scene 125 is partially effective. While it provides insight into her thoughts and feelings, it also obscures important dialogue. This scene could benefit from a more balanced approach, allowing both visual and auditory elements to contribute to the scene's impact. medium ( Scene 125 )
- The screenplay could benefit from adding more scenes showing László's architectural work in progress, allowing viewers to better appreciate his skill and dedication to his craft. medium
- Further developing the supporting characters, particularly Attila and Audrey, would deepen the narrative. Expanding on their relationship with László, and their own personal struggles, would add another layer of complexity to the story. medium
- Some subplots, particularly those involving László's interactions with other characters, feel underdeveloped. Expanding on these relationships and their impact on László would enrich the narrative and enhance the overall emotional impact of the story. low
- The opening montage is a powerful visual introduction, setting the tone and themes of the film. high ( Scene 1 )
- The letter from Erzsébet serves as a critical plot device and emotional anchor point for the narrative. high ( Scene 15 )
- The epilogue effectively frames the story within a larger historical and cultural context. high ( Scene 160 )
- The scene in Orazio’s Atelier is powerful and disturbing. It raises important questions about power dynamics, exploitation, and the psychological impact of trauma. high ( Scene 121 )
- The final confrontation between Erzsébet and Van Buren is a powerful and dramatic climax that successfully resolves the central conflict of the screenplay. high ( Scene 145 )
- Underdeveloped Supporting Characters The screenplay focuses heavily on László, Erzsébet, and Zsófia. While their stories are compelling, other characters like Attila, Audrey, and Gordon are underdeveloped. Their motivations, inner conflicts, and relationships with the main characters are not fully explored, resulting in a somewhat flat representation of the supporting cast. This limits the emotional depth and resonance of the film, particularly in scenes involving these characters. medium
- Pacing and Structure The pacing is inconsistent throughout the screenplay. Certain scenes feel rushed, while others drag. This is particularly noticeable in the earlier sections, where the abrupt transitions between locations and the lack of clear focus in certain scenes detract from the overall narrative flow. A stronger overall structure would help resolve these issues. medium
- Overly Descriptive Dialogue At times, the dialogue feels overly descriptive, relaying information that could be conveyed more effectively through visual storytelling or action. For example, some conversations could be shorter, more impactful, and less reliant on character exposition. This makes certain scenes feel less natural and more like infodumps. medium
- Inconsistent Tone The tone shifts abruptly in places, particularly between comedic and dramatic moments. While the script attempts to blend humor and tragedy, this sometimes feels jarring and disrupts the emotional flow of the narrative. A more cohesive tone would significantly enhance the film's overall impact. medium
Engine: Claude
Recommend
Executive Summary
The screenplay for 'The Brutalist' is a complex and thematically rich exploration of the life and work of Hungarian-American architect László Toth. Spanning multiple decades, the story follows Toth's journey from Europe to America, his struggles to establish himself in a new country, and his tumultuous relationship with a powerful patron, Harrison Van Buren. The screenplay's greatest strengths lie in its intricate character development, its bold visual style, and its ambitious, multi-layered narrative. While there are a few areas that could be further refined, such as pacing in certain sections and the need for additional character backstories, the overall impact of the screenplay is powerful and thought-provoking, making it a compelling prospect for adaptation.
- The opening sequences effectively establish the tone, themes, and central conflict of the story, utilizing a striking visual style and evocative sound design to draw the audience into the world of the characters. high ( Scene 1 (1) Scene 2 (2) )
- The character development of László Toth is particularly strong, with the screenplay delving into his complex relationships, professional struggles, and personal traumas in a nuanced and compelling way. high ( Scene 14 (14) Scene 15 (15) )
- The screenplay's visual style, particularly in the depiction of the architectural designs and construction sequences, is both aesthetically captivating and thematically relevant, elevating the overall storytelling. high ( Scene 19 (60) Scene 23 (74) )
- The screenplay effectively explores the themes of displacement, cultural identity, and the immigrant experience, seamlessly weaving these elements into the broader narrative. high ( Scene 25 (80) Scene 27 (90) )
- The screenplay's examination of the complex power dynamics and class divisions within the characters' relationships is nuanced and thought-provoking. high ( Scene 46 (125) Scene 47 (128) )
- The pacing in certain sections, particularly the early brothel scenes, could be tightened to maintain the overall momentum of the story. medium ( Scene 7 (7) Scene 8 (8) )
- The screenplay could benefit from additional backstory and character development for some of the supporting characters, such as Attila and Audrey, to provide a more well-rounded understanding of the dynamics at play. medium ( Scene 25 (80) Scene 26 (85) )
- The transitions between certain scenes, particularly the shifts in time and location, could be more seamless to maintain the audience's engagement and flow of the narrative. low ( Scene 41 (92) Scene 42 (97) )
- While the screenplay effectively explores the relationship between László and Erzsébet, there could be an opportunity to delve deeper into the motivations and backstories of other key characters, such as Zsófia and Binyamin, to provide a more well-rounded understanding of the central conflicts. medium ( Scene 33 (111) Scene 34 (115) )
- The screenplay could benefit from a more cohesive exploration of the themes of addiction and its impact on the characters, rather than relying on more abrupt shifts in tone and character behavior. medium ( Scene 52 (137) Scene 53 (140) )
- The screenplay's use of architectural details and design elements as a means of exploring the characters' inner lives and the broader thematic elements is a particularly compelling and unique approach. high ( Scene 19 (60) Scene 20 (61) )
- The screenplay's ability to effectively balance the personal and professional struggles of the characters, while maintaining a strong sense of visual storytelling, is a notable strength. high ( Scene 28 (94) Scene 29 (96) )
- The screenplay's handling of sensitive subject matter, such as addiction and trauma, is handled with care and nuance, avoiding sensationalism and instead focusing on the emotional impact on the characters. high ( Scene 48 (129) Scene 49 (133) )
- Lack of Diverse Perspectives While the screenplay effectively explores the immigrant experience and the challenges faced by the central characters, it could benefit from incorporating more diverse perspectives, particularly in regards to gender and race. The supporting characters, such as Audrey and Maggie Lee, could be further developed to provide a more nuanced understanding of the power dynamics and cultural differences at play. medium
- Pacing Issues As noted in the areas of improvement, the pacing in certain sections, particularly the early brothel scenes, could be tightened to maintain the overall momentum of the story. Some of the transitions between scenes could also be more seamless to keep the audience engaged. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
2 | ERZSÉBET: I cried out in ecstasy to have news of you. Zsófia is with me though she is frail, strange and quite ill. |
40 | LÁSZLÓ: Everything we see that is ugly- stupid, cruel, and ugly. Everything is your fault. |
54 | ERZSÉBET: You egotistic scoundrel. There is NO REASON for me to be here. I am here for you! I could do my ridiculous job ANYWHERE! Do you think I went to university to write about lipsticks! Shame on you. |
19 | GORDON: A rose must remain with the sun and the rain Or its lovely promise won't come true To Each His Own, To Each His Own And my own is you- |
41 | Erzsébet: I’m proud of you. Make love to me tonight. |