"MUSIC AND OTHER ARTS OF WAR"
Written by
Miles Dayton Fish [email protected]
479-366-3331
MUSIC AND OTHER ARTS OF WAR
The theater goes dark slowly, the screen is black, In the
dark, we faintly hear and see one of Hitler's angry speeches
(Youtube). The sound is far away but louder as the theater
becomes darker. (This same angry speech occurs briefly for a
a few seconds between some scenes throughout the movie.
FADE IN:
EXT/INT. ST. MARK’S (VENICE, 1939) - DAY - MOVING
After the Hitler speech, we see a close up of a swastika;
after a pullback we see it is a German soldier’s arm band.
There are Italian and German soldiers, in twos and threes,
standing in the piazza.
It's afternoon turning into evening and we hear solo violin
music.
BRUNO BAYER, early 30s, a former child music prodigy from
Germany, is an in-demand international violin artist-in-
residence at the Florence Music Conservatory. He comes to
Venice each week for Evie’s private lessons. He is
intelligent and charming with boyish good looks; he dresses
more like a student than a professor. He has a dangerous
sideline: he sells fake papers to German refugees.
He is improvising Bach's double concerto alone in the
colonnade of St. Mark's near the Caffè Florian Tea Room when
Evie arrives and joins him.
EVIE FOSTER, early 20s, is from New York City and via support
from her rich robber-baron patron, studies music in Venice.
This includes lessons with Bruno who travels to Venice
weekly. She has been in Venice about a year; her residence
hotel is a landmark of Italian luxury. She choose Venice
because she believes she may discover clues related to her
mysterious past.
Bruno and Evie have a relationship that was platonic love at
first sight; it continues to grow unconditionally.
As Bruno plays at one of the of the colonnade, Evie joins him
at the other as the two strolling violinist walk and play to
meet each other in the middle. Tourists are nearby; they
listen, are delighted and drop coins in Bruno's hat he has
placed in the colonnade.
There are three professional musical ensembles with band
stands in St. Mark's Square; they alternate playing for the
three outdoor cafes--the Florian is one of them. The cafes'
musicians are arriving for the evening. As they take their
seats on three different bandstands they join in, one by one,
with Bruno and Evie's Bach--ignoring instrumentation there
are accordions, clarinets, etc--that had begun as an
unaccompanied duet. Soon St. Mark's is filled with the sound
of Bach Bruno grabs his coin filled hat and he and Evie and
walk to the center of the Square as the three cafe bands play
along.
When the Bach is finished, Evie and Bruno get a nod from one
of the ensemble leaders who holds up his arm showing his
wristwatch: the "official" music is about to start. The duet
nods back and waves as they put their instruments away then
as they are leaving one of the ensemble musicians yells out
in Italian "Come back and play with us soon...we love you
Evie! Leave Bruno at home!" and he throws her a kiss then the
other band members throw a kiss then the cafe patrons who
have started gathering throw kisses. Evie throws kisses back
and curtseys.
Bruno and Evie leave St. Mark's smiling as they strap their
violin cases to their backs and walk toward Evie's residence
Hotel Danieli. We hear one of the St. Mark's ensembles strike
up Cole Porter's "Anything Goes." Mr. and Mrs. Porter, both
dressed all in bright white, each with white fedoras, have
just entered St. Mark's and the patrons acknowledge their
entrance with applause.
Bruno's cap is heavy with tip-coins and as they are walking,
he offers it to Evie who smiles politely pushing the cap back
to him.
EVIE
Why do you do that?
BRUNO
Do what?
EVIE
Have us play for tips. It’s not
like we need the money.
BRUNO
I don’t do it for us. I do it for
them. The tourists who aren’t
musicians. We must remind them that
musicians must always be paid.
EVIE
Speaking of reminders, I remind you
that you were suppose to be here
last night.
BRUNO
I was...Still in Florence…
(mouths with him as he
speaks “...in Florence”)
EVIE
(stops walking takes his
arm)
Bruno, stay out it.
BRUNO
Out of what?
EVIE
Let them buy their phony passports
from someone else.
BRUNO
(to Evie and himself)
Too much money at stake.
EVIE
Your life is at stake. They are
going to catch you. I mean really,
who ever heard of a musician lots
of money...that suspicious enough.
BRUNO
I see your point.
EVIE
They’ll take you away. Murder you.
And then. Then, I will be without a
violin teacher. So inconsiderate of
you.
BRUNO
Actually that’s rather touching.
EVIE
Actually, it is. Stop with the
German refugees.
BRUNO
OK. OK. OK.
(changing the subject)
(MORE)
BRUNO (CONT’D)
So, what did you do last
night...while I was in
Florence...making money...not
getting murdered and standing you
sp?
EVIE
It was an interesting night.
BRUNO
All your nights are.
EVIE
I suppose they are.
(suddenly serious)
What do you know about Antonio
Vivaldi?
BRUNO
You were with Antonio Vivaldi last
night?...that might be your most
interesting night yet.
EVIE
Bruno! What do you know.
BRUNO
Venetian composer from the 1700s.
Not much to know except maybe about
the Vivaldi manuscripts.
(Evie brightens up)
Ah, the manuscripts. Yes, might be
some good violin stuff there; he
may have been a virtuoso...and...
EVIE
...and...
BRUNO
..And Vivaldi may have been the
most famous composer of his day. No
one has heard of him in our
day...except, of course
musicologist and historians and
prodigal geniuses...well, like me.
(rhetorical)
Well, have YOU heard of him?
Well, of course you have or you
wouldn't be asking...
EVIE
I have parallel knowledge of him.
BRUNO
(mouthing, chewing the
words)
Parallel...knowledge...
EVIE
I’ll explain. But you first.
BRUNO
The University Library in Turin may
have made the music manuscript
discovery of the century in finding
800 missing Vivaldi works. For
several years now the news about
the discovery has remained hush-
hush. Very secret. Very dramatic.
Very Italian. God, I love these
people. BUT. I don't know of
anyone who's actually SEEN the
manuscripts.
EVIE
I do. Last night--after I was stood
up by YOU--I went to Harry’s.
And...well, let me start at the
beginning, I spilled a drink on
this woman...
BRUNO
The beginning of a typical evening
for you.
BRUNO (CONT’D)
(paying him no attention)
...the woman turned out to be a
Vivaldi connection. Well, the
Vivaldi connection.
(she opens her purse,
presents him with a
business card)
She’s a violinist. Sort of famous.
BRUNO (CONT’D)
(reading the card)
Yeah..."sorta"...but currently
famous for non-musical reasons.
(flipping the card over)
That part’s not on the card.
EVIE
What part?
BRUNO
She's Ezra Pound’s mistress. That
part.
EVIE
(taken back)
So?
BRUNO
Ezra Pound. American poet.
EVIE
Ezra Pound. I’m an American. I
know. Oh, yeah...I met him too.
BRUNO
You met Ezra Pound.
(shakes her head yes)
At Harry’s Bar.
(shakes her head again)
EVIE
He’s an American. Why shouldn’t he
be at Harry’s?
They stop at the Bridge of Signs a minute before continuing
their walk.
BRUNO
Well, yeah. He’s and American who
makes anti-American, anti-semitic
speeches for Mussolini and
according to the newspapers, Ezra
Pound can’t even return to his own
country because of it. So, really,
I'm a little surprised to find out
he's hanging out at Harry's
“Americani” expat tourist Cocktail
canal Bar because apparently he
doesn’t especially like America.
And vice-versa. Anyway, don't get
me started.
EVIE
(to herself)
Good idea.
BRUNO
Sorry.
EVIE
It’s ok.
BRUNO
So where were we? Oh, yeah, you
will spilling drinks on--
EVIE
Drink. Singular.
BRUNO
I stand corrected. But I’m in the
dark with the Vivaldi connection at
Harry’s.
EVIE
Connections. Plural. There are two
connections. Olga Rudge and Ezra
Pound are the musical connections
to Vivaldi.
(he opens his mouth slowly
then she closes it with
her index finger)
Bruno, those two are now in control
of the Vivaldi manuscripts at
Turin. Imagine: Two expat Americans-
-one of whom can't return to his
own country--now control
manuscripts in Italy by what might
be one of the world’s greatest
undiscovered composers. Anyway,
last night they sat down next to me
at the bar and started talking to
Giuseppe and the first two words
out of Olga’s mouth were “Antonio
Vivaldi." I thought I was the only
living person that knew that knew
that name and surprised, I turned
toward them and I knocked over my
drink. On her. And while sponging
her off with a hand full of
cocktail napkins I launched into a
conversation about how I had been
to the Venice Records Office many
times and seen that name: Antonio
Vivaldi. But I didn’t tell her why
I go to the Venice Record Office
because that story is too long to
tell even after a couple of
martinis.
BRUNO
A couple?
EVIE
Shhh. I told her I had learned that
in the 1700s Antonio Vivaldi was
connected with an institution named
Ospedale della Pietà which I
believe was something like an
orphanage. I asked Olga if the
Antonio Vivaldi at the Venice
records office could possibly be
the same Vivaldi as the Turin
manuscripts Vivaldi.
BRUNO
Go on.
EVIE
She was very, very interested. She
said probably it was the same
Vivaldi. I told them my Vivaldi
story; they told me their Vivaldi
story which, incidentally, was
pretty much the same as your
Vivaldi story but...theirs' had a
better ending.
BRUNO
...a better ending...
EVIE
She’s been to Turin; seen the
Vivaldi manuscripts. She's
cataloguing them as we speak. Olga
and Ezra are in Venice to gain
support for a concert to celebrate
all this. International event and
all that. They wanted to know
everything I knew from the Records
Office...about Vivaldi and that
Pieta place and the old opera house
on the Grand Canal. Apparently I
know things about Vivaldi that no
one else knows.
Genres:
["Drama","Mystery","Historical"]
Ratings
Scene
2 -
Melodies Amidst the Storm
INT. HOTEL DANIELI - DAY - MOVING
They enter the Hotel Danieli. Continue talking as they
proceed toward the front desk. Smiling, without pausing, she
takes her room key that the desk clerk, anticipating her
arrival, is holding out for her. Then she winks at the
bartender across the lobby and strolls by the lobby bar to
pick up her martini as they proceed to the hotel’s grand
staircase.
BRUNO
Amazing.
EVIE
Isn’t it. They have a martini ready
every time I walk by the bar.
BRUNO
Well. No, that's not amazing it’s
predictable. The Vivaldi thing is
amazing.
(pauses, thinking)
We've just been given a chance of a
lifetime.
EVIE
We have?
BRUNO
We have. After 200 years the
missing Vivaldi makes a glorious,
historic return to Venice.
(hand in the air as though
he was skywriting)
Olga has the music, you have a
little of Vivaldi's history.
“Vivaldi in Venice.” We, Dear Evie,
are in the middle of this at the
beginning.
EVIE
We are?
BRUNO
We are. And speaking of historical
Venice, how is your “personal
history search” progressing?
EVIE
Terrible. At the Venice Records
Office you mean? Just terrible.
BRUNO
But you're still going there?
EVIE
Every couple of days, yes, for a
couple of hours at a time. It’s a
mess, really. Warehouse of shelves
stacked to the ceiling with papers.
1920s documents right beside 1720s
documents. All in Italian...
BRUNO
...imagine that..
EVIE
...and all I've got is this phrase
book and all. But no. No hospital
records of importance...yet.
However, I have learned a bit about
Antonio Vivaldi so, it hasn’t been
total loss.
BRUNO
You can say that again.
EVIE
I think this Vivaldi guy was an
important person and I don't mean
just as an important composer. An
important teacher. Important
mentor. The Pieta was an orphanage
a home for abandoned girls and best
I can tell, he was there for almost
40 years. You’ve got to be good to
stay at the same mob fo 40 years.
BRUNO
True.
EVIE
I felt a connection with him from
the first day I saw his name on
Pieta orphanage documents. Like he
had been waiting for me to show up
in that records warehouse...waiting
For centuries. Patron saint of
abandoned souls. Then last night
Olga started talking about a
Vivaldi-in-Venice concert I
thought: that's it. Vivaldi lead
me here. This was going to be MY
concert.
BRUNO
Our
EVIE
Of course. Our. No more depending
on boorish rich American patrons.
No more peddling fake passports for
you. By the end of the evening at
Harry’s that's what I thought
anyway. But there's the kicker--
BRUNO
There usually is. Let’s have it.
EVIE
No one in Venice is interested in
Vivaldi.
BRUNO
What!
EVIE
Or a Vivaldi concert. No one.
BRUNO
That ole prophet-in-your-home-town
proverb gets more obvious with
every passing century.
EVIE
Giuseppe at Harry's is helping Olga
with contacts in Venice so that’s
why—I’m guessing—they were both in
there.
BRUNO
Are they still here?
EVIE
Yes, she has a house here.
BRUNO
In Venice?
EVIE
Her father bought it for her years
ago. She has an apartment in a hill
town south of Florence. She works
at a music conservatory there.
BRUNO
Siena? Accademia Chigiana. A
student of mine in Florence is from
there.
EVIE
Yes, Chigiana. That’s where Olga
first learned about the Vivaldi
manuscripts. We talked most of the
night. We drank a lot...well...I
drank a lot, I'm not too sure about
her. I believe we're great friends
now. Really. At least Olga and I
are.
(MORE)
EVIE (CONT’D)
She's a strange bird but we liked
each other...I could tell. Ezra
didn't interact much
BRUNO
Send word to her. To Olga.
EVIE
What word?
BRUNO
Word about our Vivaldi meeting.
EVIE
What meeting?
BRUNO
The meeting here at your hotel.
Make sure they know that I am
somewhat famous just in case they
haven’t heard of me. And that I
know people and people know me.
EVIE
Yeah, maybe you could get Ezra a
fake passport back to the US.
BRUNO
What ever it takes.
EVIE
OK, OK I’ll see.
They Stop at Evie’s hotel room door, she hands him her drink
as she fumbles with the hotel key then picks up the American
newspaper at her door along with her mail. She opens the door
and they enter.
EVIE (CONT’D)
Oh, this is not a good. My “patron”
is coming to Venice.
BRUNO
Rich guy Max from New York, New
York, New York?
EVIE
(paraphrasing as she
reads)
In from Berlin to Milan...coming
through Venice on the way to
Rome...Bring the family.
(she stops, stands
motionless)
BRUNO
What?
EVIE
There are things about Max, about
his patronage. Complex things
and...
BRUNO
(He holds out a newspaper)
Oh. My God. It’s started.
EVIE
(She takes the newspaper
and reads)
“Nazis Smash, Loot and Burn Jewish
Shops and temples…All Vienna’s
Synagogues Attacked…Jews Are
Beaten…15,000 are Jailed…” It’s
getting closer isn’t it?
Bruno picks up the envelop from Max and shows her the stamp
of Hitler and Mussolini.
EVIE (CONT’D)
It’s here.
BRUNO
It’s here.
They’re motionless then Bruno starts to uncase his violin.
EVIE
Bruno. No. A Lesson?
BRUNO
Yes. You have to practice and we
have a lesson.
EVIE
Bruno....oh god no. Now?...I
mean...the war headlines...that
postage stamp...my rich patron Max
coming...Vivaldi/Olga/Ezra ...The
bad Bach with accordions and
clarinets and in the Piazza
today...Really. No, Bruno. No
practice no lesson tonight.
BRUNO
(over dramatic)
We must continue to make music if
we want to survive this madness.
EVIE
You sound like you’re in an old
Hollywood movie.
BRUNO
We are. We are in an old Hollywood
movie...I’ll let you know when it’s
over. Now play.
They each start to play different warm up pieces. A new
newspaper is dropped outside Evie’s door. Headline: “Austria
Bows To Germany.” Hearing sounds of a Hitler rally rise and
fall moving to the next scene
Genres:
["Historical Drama","Musical"]
Ratings
Scene
3 -
Cultural Clash on the Ponte Vecchio
EXT. Ponte Vecchio bridge (Florence) - day - moving
Bruno and Paolo cross the Ponte Vecchio Bridge headed to
Bruno's studio at the Uffizi.
PAOLO BENDINI, Italian aristocrat in his early 20s, may not
be the best looking musician in Tuscany but he makes up for
it in charm. Down to earth and unassuming despite his
upbringing and his family’s wealth. From Siena, he studies in
Florence with Bruno.
BRUNO (CONT’D)
So you know Olga Rudge.
PAOLO
I know of Olga Rudge. She’s
American but you'd never guess it--
I didn't mean for that to sound
like a compliment. Raised in Europe
and England--I think--mostly.
Concert violinist. Had a quick rise
at the Chigiana is now the right
hand of Count Chigi at the
conservatory. Need more?
BRUNO
Everything you've got.
PAOLO
She's Ezra Pound's mistress—I
suppose everyone knows that I
think. He visits her in Siena so I
see him occasionally. But he lives
with his wife in Rapallo. I
understand Miss Rudge and Pound
have a daughter together and
Pound’s wife Dorothy has an
illegitimate son after a solo fling
in Egypt, the son lives with
Dorothy’s mother in England.
(MORE)
PAOLO (CONT’D)
Olga's daughter lives mostly with a
paid nanny somewhere north of
Venice. More?
BRUNO
There’s more?
PAOLO
Only a side note. Pound's wife
Dorothy's mother Olivia
Shakespeare, the British writer,
had a short affair with poet
William Butler Yates. She was his
muse; he wrote poems inspired by
her. Yates went on to marry
Dorothy's best friend--and niece.
BRUNO
These are busy people.
PAOLO
Yeah. I'm Italian and even for me I
find these to be extremely busy
people.
BRUNO
Do you ever talk to her? Olga, I
mean, do you talk to her?
PAOLO
"Hello. Goodbye.” I know a few of
Olga’s more personal tidbits
because she sometimes talks to my
friend Antonella at Chigiana.
BRUNO
Does she mention Venetian composer
Antonio Vivaldi?
PAOLO
I know about the Vivaldi
manuscripts in Turin but not
through Olga. I know about them
through my father who a colleague
of the Count.
BRUNO
The Chigi Count? The guy that funds
the conservatory at his palace?
Friend of your father? And your
father is..?
PAOLO
I told you. He’s an officer.
BRUNO
A police officer.
PAOLO
(smiles)
Bank officer. Monte dei
Paschi...oldest bank in the world,
actually. Been in Siena since the
1400s.
BRUNO
Good God. I thought you were just
another needy music kid from
another Tuscan hill-town.
(looking Paolo over)
You should dress better. Really.
It’s misleading. I have been
grossly undercharging you. Never
mind. Back to Vivaldi--we’ll talk
about your lesson-fees later.
PAOLO
Here’s what I know: Miss Rudge has
been to Turin several times and
there is a excitement at the
conservatory over what she's found.
BRUNO
I want to talk to you about
something—in secret—something that
could affect all of us musicians:
Olga and Ezra are in Venice as we
speak to promote a Vivaldi
"discovery" concert and it seem
that no one in Venice is
interested.
PAOLO
Hmmmmm Venice. Doesn't surprise me
ghat Venice isn’t interested. They
should forget Venice.
BRUNO
So...Florence?
PAOLO
Definitely not Florence.
But...Siena. Yes. Why not Siena?
BRUNO
A Vivaldi Festival. In little-bitty
Siena.
PAOLO
Sure. Olga and Ezra are there half
the time working on Vivaldi anyway.
The count's got lots of money. My
father's bank has backed Siena's
cultural projects for 100s of
years. 100s.
BRUNO
You really should dress better.
Paolo, come to Venice with me.
Tomorrow, come with me tomorrow to
meet with Olga. Siena is a great
idea and you can help me convince
them of before their concert idea
gets hung up in Venice or Florence
or God forbid Mussolini’s Rome.
This would be the perfect
opportunity for us to become
associated with what may be an
international event.
PAOLO
I have to practice.
BRUNO
Really. International event is on
the possible horizon. And now you
decide to practice?
(backing up a bit)
Oh. Your recital. You’re right. You
Do need to practice.
PAOLO
Thanks. I think.
BRUNO
You’ll practice in Venice.
PAOLO
No. I have my routine here in
Florence and it does not involve
gondoliers singing bad Puccini
outside my window.
Before they start to climb the Uffizi stairs to Bruno’s
studio and there is a crumpled up newspaper near-by and Bruno
pauses and point to it with his foot; the headline is
"Germany takes over Austria"
BRUNO
I guess you’ve seen this? From now
on everything we do will be
filtered through this.
(MORE)
BRUNO (CONT’D)
Vivaldi in Siena might be the last
sane, civilized thing we do before
the world as we know it ends. Come.
To. Venice.
PAOLO
You really know no shame. "The
world as we know it ends"? No. The
world will not end and I will not
go with you to Venice. I have. To.
Practice.
The door slams. Outside and we hear Bruno yelling.
BRUNO
You’ll practice. In. Venice!
PAOLO
No. I. Will not!
Genres:
["Historical Drama","Musical"]
Ratings
Scene
4 -
A Night of Debate at the Hotel Danieli
INT. HOTEL DANIELI LOBBY (VENICE) - NIGHT
Bruno, Olga and Ezra (historical characters) are seated in
the Danieli lobby near the fireplace, drinks in hand. Paolo,
standing, addresses them.
EZRA POUND and OLGE RUDGE (historical characters) their
involvement in the Vivaldi Festival along with Pound’s anti-
Americanism is based on truths.
PAOLO
The Venetians couldn't and wouldn't
pull this off in Vivaldi's day.
Miss Rudge, you live in Venice and
you live in Siena, you know what
the Sienese are capable of
accomplishing.
Evie descending the grand staircase dressed for cocktails.
Bartender hands her a fresh made martini as she walks by. She
reaches the group, the two seated men stand kiss her cheeks.
She and Olga nod.
BRUNO
Perfect timing. Paolo's just
completed his summation. And. He is
finished.
EVIE
Ah, My favorite part of a meeting:
the ‘and he is finished' part.
BRUNO
Evie this is Paolo Bandini my
Florence Conservatory student from
Siena. Paolo, Miss Evie Foster, my
American student in Venice.
PAOLO
Oh. American.
EVIE
Yes, New York.
(pause)
Is that a problem?
PAOLO
No, of course not.
EVIE
Sit. Sit, please.
BRUNO
Evie, we know now according to
Olga, that you are somewhat of a
Vivaldi history insider. We
appreciate that knowledge for the
future. Here’s where we are: we’ve
been talking about Siena.
EVIE
For what?
BRUNO
For Vivaldi. For the concert.
EVIE
What? Venice is Vivaldi.
(silence)
Well, isn’t it?
BRUNO
Well, yes. Maybe. And maybe no.
Siena, as it turns out, may be
better.
EVIE
Siena. Who will come? I mean who’s
ever even heard of Siena? I
certainly haven’t.
Paolo starts to speak but Bruno quickly speaks.
BRUNO
Siena is, historically speaking,
one of the most important cities in
Italy.
EVIE
So’s Pompeii but I can't see us
scheduling a Vivaldi concert on
Mount Vesuvius. Look, if a Vivaldi
concert is in Venice I am in Venice
and I would have a chance be a part
of it. I live here. I've researched
Vivaldi here...by accident but non-
the-less.... I study here. I play
Bach with accordions and clarinets
in St. Mark's here...and people
love me here... Bruno, tell them..
BRUNO
They love her here.
EVIE
And I’m good.
OLGA
I believe you mentioned that at
Harry’s.
EVIE
Oh yeah, well, probably I did.
BRUNO
Evie is extraordinary. She will
have a career one day.
EVIE
A career in Europe. Just like my
mother.
OLGA
You didn’t mention her night. And
you mentioned so much. Your mother
is a European violinist?
EVIE
An American. Singer. Soprano. She
spent most of her life studying and
performing here. Sophia
Stallenberger. And Venice was a
very special place for her...and
me.
OLGA
Stallenberger. Coloratura. She was
wonderful. I heard her once in
Paris. She died during The Great
War (WW 1) returning to the States
didn’t she? A German U Boat sunk
the ship if I remember my history
correctly.
EVIE
HMS Liverpool.
OLGA
Sophia Stallenberber was you
mother.
Evie and Bruno stare at each other a beat. He can tell he
should continue for her.
BRUNO
Stallenberger was her mother and
Evie found this out somewhat
recently, well a couple of years
ago. Evie was raised in various
foster homes in New York City.
When she turned 15, Sophia
Stallenberger's former dresser and
traveling companion—a Mrs. Dumont
from Brooklyn — after years of
searching, found Evie and informed
her that Sophia Stallenberger was
her mother. OK to continue? Evie?
There is a long pause then a nod from Evie.
BRUNO (CONT’D)
So according to Mrs. Dumont there
was an affair while Sophia was
performing in Florence. A fling,
really of a couple of weeks that
she kept a secrete. After leaving
Florence, Sophia realized she was
pregnant. Mrs. Dumont didn't know
who the father because Sophia was
very discrete about her personal
life and she knows from Sophia that
the father did not know about the
pregnancy. Sophia and Mrs. Dumont
came to a hospital here in Venice
where Sophia had friends and she
gave birth without fanfare and
named her baby Evie after Sophia's
grandmother. But she didn't choose
a last name;
(MORE)
BRUNO (CONT’D)
she left that for later. But she
did have a little name anklet
crocheted for her by one of the
nurses. After the birth Sophia left
Venice to complete concert
obligations in London and was
returning to New York on the
Liverpool. Mrs. Dumont was to
return to New York from Venice.
Without Sophia and her connections
in New York and without proper
documentation—without even a last
name and only a name anklet—Evie
was taken from her—supposedly
temporarily. But Evie disappeared
into the foster home bureaucracy
that was New York immigration in
early 1900s...the last name they
gave her is a reflection of that:
Evie Foster Mrs. Dumont spent a
year or so searching for Evie but
eventually gave up. As a young
teenager violinist Evie started to
make a name for herself in a series
of recitals sponsored by the
orphanages of New York. Mrs.
Dumont saw a news release featuring
Evie; Evie is not a name you read
about often. After a little
detective work she felt reasonably
sure that Evie was THE Evie and she
contacted her. Evie's young career
blossomed and she was befriended by
Morris Westin Maxwell, the steel
baron and patron of the arts. He
sponsored Evie a couple of years
then offered her the chance to
study abroad. She chose Venice
because she’s looking at the Venice
hall of records for clues about the
truth of her birth. The truth about
her mother and possibly a
connection to her father.
OLGA
That’s why you knew about the
orphanage records...and how you
came in contact with the name of
Antonio Vivaldi...and the Pieta
where he worked?
EVIE
He was a musician who looked after
abandoned girl musicians. Like me.
OLGA
Well, Vivaldi’s story just keeps
getting better. Evie you are right,
Venice is the perfect place for a
Vivaldi concert but it is a lost
cause. I agree with Paolo that
Siena and the Chigiana is our next
logical course of action. And I
agree in part with you about
Siena’s worldwide recognition
problem. But Ezra can help with
that. His international contacts
are not to be underestimated. I
believe the world will welcome
Vivaldi in Siena and Siena will
welcome you also, Evie, so you
should consider Siena for a while
if this concert is our destiny.
(pause)
So. Thursday. Can we meet in Siena
with the Count Chigi and maybe
Maestro Casella? That meeting would
include you Evie.
BRUNO
Thursday? Siena? Everyone?
Genres:
["Historical Drama","Musical"]
Ratings
Scene
5 -
A Night in Venice: Shadows of Antisemitism
EXT. VENICE PADESTRIAN STREET - NIGHT - MOVING
Olga, Ezra, Bruno, Paolo, Evie walk out of the hotel and
cross the bridge in front of the Bridge of Sighs. At the
square, they split in different directions amid the sounds of
music from the St. Mark dance bands. Olga and Ezra off the
right in front of the Cathedral, Bruno to the left side of
the square and Evie and Paolo walk together straight ahead
beside the basin pasting the Square. Bruno shouts back at
Evie.
BRUNO
Evie, I have to meet friends from
Cologne.
EVIE
Of course you do!
BRUNO
But only for only a short while.
Really. Care for a little nightcap
later? If I’m still alive?
EVIE
That is not funny. Another time.
Paolo’s going to escort me to
Harry’s then I’m turning in after a
drink.
Back to Paolo who walking at her side.
EVIE (CONT’D)
So, looks like I may be coming to
Siena. Any suggestions on where I
might stay? I mean, if I do decide
to come... like Olga suggested
PAOLO
The Palazzo Hotel in Siena. It's no
Danieli but...
EVIE
Wait. Let me explain about the
hotel. The Danieli is my patron's
choice. It's his hotel preference.
Where he stays when he is here. It
is an extravagant place to live;
it's embarrassing actually. Well,
at first it was embarrassing but
now I'm kind of over the
embarrassment. As you just heard, I
didn’t grow up rich; I just kinda
recently grew into rich.
PAOLO
The Palazzo Hotel in Siena is nice
and has been unofficially connected
with the Chigiana since the school
started; guest professors stay
there. The hotel is experiencing
trying, shall we say, uncertain
political circumstances right now.
But I won’t affect the guests.
Antonella a former classmate and a
fellow musician is helping run it.
EVIE
Is that where you stay?
PAOLO
My family lives in Siena so I stay
there when I study at the Chigiana
and conveniently for me, they have
an apartment in Florence so I stay
there when I’m studying at the
Conservatory.
They are near the front door of Harry’s.
EVIE
Thanks for the information. And
thank you for walking me to
Harry’s. It’s my little home away
from home you know.
PAOLO
Of course. The pleasure was mine.
I'm at the Gritty so it was on my
way.
EVIE
Come in for a drink. Why don’t you?
I mean as long as your here. As
long as I'm buying.
PAOLO
I can’t. Really. I have to
practice. My conservatory recital
is coming up soon.
They turn the corner to the entrance. They stand still when
they see the 8”X11” paper sign posted at the door "NO JEWS
ALLOWED". Evie breaks the silence.
EVIE
So maybe this is why Ezra drinks
here.
PAOLO
Ezra Pound hates Jews?
EVIE
According to Bruno he’s becoming Il
Duce’s American voice of
antisemitism.
PAOLO
So it's here. And if it’s here in
Venice, how long until it’s be all
over Italy? Good night. Enjoy your
home away from home while you can.
I fear all of it is about to
change.
He walks away a bit before turning around.
PAOLO (CONT’D)
Oh, by the way. I heard a recording
once of Sophia Stallenburger. She
was spectacular. I’m sure you are
too.
EVIE
I am! And thanks.
She watches Paolo walk away in the moonlight then she stares
back at the sign then pulls it down and walks inside and goes
directly behind the bar and into Giuseppe’s kitchen.
GIUSEPPE CIPRINI (historical character) is the founder/owner
of Harry’s Bar.
Genres:
["Historical Drama","Musical"]
Ratings
Scene
6 -
Defiance in the Kitchen
INT. HARRY’S BAR - NIGHT
EVIE
Giuseppe! What is this?
GIUSEPPE
Shhh! A sign. Where did you get
that?
EVIE
From your door!
GIUSEPPE
Well, put it back. Really, Evie.
Put it back.
(pause)
There was nothing I could do.
EVIE
There is always something you can
do.
GIUSEPPE
Not this time. Not any more. The
Army officer said that they
suspected that Harry's catered to
American traitors, homosexuals, and
Jews.
(Evie’s look says “well?”)
They can close me down. “Hang up
this sign and we might let you stay
open” the officer said.
EVIE
(pause)
Did he say hang the sign...on the
front door?
Giuseppe shakes his head; shrugs his shoulders.
EVIE (CONT’D)
Well...hang it...here.
GIUSEPPE
That's the oven. In the kitchen.
The troops have taken over my place
during the day. They have lunch
here...in the kitchen. They’ll see
that the sign is in the kitchen.
EVIE
Perfect. Who needs protecting from
American traitors, Jews, and
homosexuals more the Fascists and
their Nazis friends during lunch?
At last: they can eat in peace?
Think of it as a service to your
country.
She goes on tip-toes and looks him straight in the eye.
EVIE (CONT’D)
Don’t put that sign outside your
bar for the rest of the world to
see.
GIUSEPPE
Evie, this is a little American
cocktail bar on a canal. This is
not the rest of the world.
EVIE
It's he only one either of us have.
He takes the sign from Evie, looks over his shoulders both
ways, and hangs the sign over the cook stove and they both
stare at it then smile.
GIUSEPPE
Hummmmm...It does look better
there.
She kisses his cheek. They exit the kitchen enter the bar.
Evie moves to "her seat" at the bar and Giuseppe goes to his
place behind the bar.
EVIE
I have some bad news.
GIUSEPPE
No. We’ve had enough for one day.
EVIE
This is on a personal level.
GIUSEPPE
Everything with you is on a
personal level.
EVIE
I'm in love...I think. Love-at-
first-sight. Just now. Tonight. An
hour ago. Five minutes ago. I met
this guy from Siena and I went all
weak in the knees. And my heart
beat faster than it should, and...
GIUSEPPE
That’s it. Love at first sight.
It's the worst kind, you know. I
speak from some experience. You are
no longer in control.
Evie watches in silence as Giuseppe mixes her martini. He
places the drink on the bar and he turns to leave but she
reaches across the bar and puts her hand on his and whispers
to him.
EVIE
I'm afraid. I wasn't before but now
I am.
GIUSEPPE
Don't be. I've been in love lots of
times.
EVIE
That's not what I meant.
GIUSEPPE
I know what you meant. Everyone I
know is afraid now. Only the crazy
people aren’t afraid. Unfortunately
the crazy people are the ones in
charge which is why the rest of us
are afraid.
Evie gives Giuseppe a sign of the cross in the air as though
she were a priest and they smile. They turn to look at the
bar patrons who apparently have been following the
conversation since Evie entered with the sign. The bar
patrons in turn “cross” Evie and Giuseppe.
Genres:
["Drama","Historical"]
Ratings
Scene
7 -
A Night of Awkward Encounters
INT. SANTA CROCE CHURCH (FLORENCE) - NIGHT
Violin music from Paolo’s recital. Panorama of Florence from
Pizzazz Michelangelo hill above the city.
Camera moved across the Arno River to Santa Croce district
and into the Santa Croce Church where Paolo is performing.
At the program's ends Paolo plays a short encore. His
younger sister of about eight years brings him flowers and he
bends down so she can kiss his cheek. The crowd dispenses
leaving through various entrances. One concert goer remains
seated. Paolo notices the still figure and in the dim light.
He sees that it's Evie who sits motionless. She is slightly
overdressed, slightly over made-up and over coiffed. Their
eyes meet, Paolo responds with a look of puzzlement and she
rises and walks toward him; he continues to acknowledge
congratulations from passers-by.
PAOLO
Evie. That IS you. I'm--
EVIE
Surprise!
PAOLO
Yes, surprised. And flattered.
Welcome.
EVIE
Well, the surprise is how wonderful
you look—sound—I mean how wonderful
you are—your music. Wonderful.
PAOLO
Thank you.
Recital patrons have strolled out of the church; only Paolo's
family remains and they stand with him in a line near the
altar--mother, father, grandmother, younger sisters and
brothers; they are frozen, not smiling, not understanding the
conversation in English, staring at Evie.
EVIE
Well, since I was going to be in
Siena Thursday for the Vivaldi
meeting and I thought I'd start out
a little early, enjoy a night or
two in Florence and hear you play
and as long as I am here...
(quickly)
..and since I owe you from the
other night in Venice. Would you
like to go out for a little post-
performance drink?
PAOLO
Thank you. That’s so nice of you.
Uh, my family is here and we are
going back to the apartment. So.
Another time.
EVIE
Oh, sure, another time. Again,
wonderful. Especially wonderful.
(pause)
Hearing you play is a humbling
experience and I don’t humble
easily.
PAOLO
Thank you again.
With renewed confidence she, she smiles, nods, turns, walks
toward Santa Croce’s front entrance. Evie listens to the
reverberating muffled conversations among the remaining
family and her own clicking stiletto heels against the stone
floor. Then she hears her name called in a shouted whisper
once then twice.
BRUNO
Evie. I thought that was you. What
a surprise. What are you doing
here?
EVIE
I have no idea.
BRUNO
You never do. It's part of your
charm.
(pause)
Wait a minute. You’re not...not
Paolo?
EVIE
What? No. Paolo? No.
BRUNO
Evie.
EVIE
Well, kind of. I Mean, I don’t
know. And I don’t know why I’m here
which says a lot, I guess.
BRUNO
I'll walk you home.
EVIE
No. Absolutely not. You’ve got
Paolo and his family. Other
students. And probably "friends" to
meet afterwards.
BRUNO
All true. But for you I would...
EVIE
Go!
BRUNO
So. You want to meet later for a
drink? This is my town, you know.
EVIE
No. You are wonderful but I’m
exhausted. Really. It takes
considerable time to get this over
dressed.
Genres:
["Drama","Romance"]
Ratings
Scene
8 -
A Night in Florence
EXT. STREET - NIGHT - MOVING
Evie walks through the near empty pedestrian streets of
Florence alone. Through the Piazza della Signoria and Piazza
della Repubblica through the entrance of her hotel Helvetia &
Bristol. She walks to the desk and the clerk hands her the
key. She reaches out but stops in mid air and does not take
the key. She looks at the clerk and addresses him as if he
were an old friend.
EVIE
It's just a bit early to turn
in...I mean for one's first night
in Florence? It's a bit early.
DESK CLERK
Non parlo inglese.
She wraps his hand around the key and exits the hotel. She
walks back to the Piazza della Signoria to the cafe Revoire.
The crowd outside the cafe’s exterior is loud and she
continues to a table at the near vacant inside. A waiter tend
to her table.
EVIE
I’ll take an espresso. No, make
that a martini.
Then she notices that one of the men seated at the Revoie
outside bar is Paolo and she panics when he starts to enter
the bar’s interior and she starts to move toward the door.
EVIE (CONT’D)
Oh, hello Paolo, I didn't expect to
see you here. I was just leaving.
PAOLO
Evie, I....friends intercepted me
before I got to the
apartment...they insisted...
EVIE
Ciao.
She rushes off. Paolo stands at her table, the waiter arrives
with Evie’s martini. The waiter gives Paolo a look.
They watch Evie as she turns right and walks across the
Piazza until she realizes she is headed in the wrong
direction. She comes to the Revoire and address the young men
in the outdoor cafe.
EVIE (CONT’D)
Helvetia & Bristol?
They all point to their left and Evie leaves.
PAOLO
Americana.
(waiter nods)
From New York.
(waiter gives a larger
nod)
Living in Venice...at the Danili.
(still larger nod)
Genres:
["Drama","Romance"]
Ratings
Scene
9 -
A Night of Music and Mischief
INT. HELVETIA & BRISTOL HOTEL - NIGHT
Evie walks across the lobby to see a gentleman seated in the
lobby hidden behind an opened German newspaper. She removed
the paper.
EVIE
I told you I would be fine. You’re
not the parent I never had, you
know.
BRUNO
Want to play a little bit?
EVIE
Parent?
BRUNO
Music.
EVIE
At this hour? They’d kick us out of
the hotel.
BRUNO
In the piazza. It’s a great night
for that sort of thing.
Genres:
["Drama","Romance"]
Ratings
Scene
10 -
Midnight Serenade in the Piazza
EXT. PIAZZA DELLA REPUBBLICA - NIGHT
Evie and Bruno are playing music in the piazza della
Repubblica near the hotel. A few painters with their easels
are around. A few windows above the piazza are open and as
some listen to the music. Evie notices a figure with a violin
strapped to his back walking in their direction. She stops
playing.
BRUNO
Why did you stop?
EVIE
Oh, dear God in heaven.
BRUNO
Paolo!
Bruno walks to Evie, he is holding something behind his back.
He then presents her with a martini.
PAOLO
I believe you left this.
EVIE
(she laughs)
Well, yes. I guess I did. But how
did you know I was here?
PAOLO
You had ask my friends for
directions to the Helvetia. So...
BRUNO
You’re headed back to your
apartment? Don’t go. Let’s play.
PAOLO
Evie?
EVIE
Yes. Paolo is right. As long as you
are here...and as long as I have a
drink to welcome the midnight...why
not. Let’s play.
The three of them begin to play as the last of the artists
fold their easels and walk away. Windows in the apartments
surrounding the piazza start to open one by one.
Genres:
["Drama","Music"]
Ratings
Scene
11 -
A Confession of Distress
INT. DUOMO CATHEDRAL (SIENA) - DAY
Antonella walks up the cathedral steps through the front
doors that slam behind her. There is organ music. She walks
to the altar, Giordano is at the organ. He stop playing and
looks at her.
ANTONELLA LOMARDI, mid 20s, talented soprano
performer/teacher born and raised in Siena. She’s from an
upper middle class well educated family. Strong willed,
compassionate, always ready to act (and re-act).
FATHER GIORDANO BANFI, mid 20s, priest and organ-master
/choirmaster at Siena’s Duomo Cathedral. He has had a rapid
rise in the leadership of the Church among growing skepticism
of the Church’s treatment of Jews. Antonella and Biordano are
lifelong friends.
GIORDANO
Something’s happened.
Antonella starts to cry and motions to the confession booth.
He follows her.
ANTONELLA
The police just came for Nehemiah
and Rachael. They took them away.
They ripped them from their
children’s arms.
GIORDANO
Oh dear God. Piea. They’ve probably
taken them to Piea south of Turin.
ANTONELLA
Why?
GIORDANO
There's a Jewish camp there now.
ANTONELLA
What kind of “Jewish camp”?
GIORDANO
They've been secretly building
them. Getting ready for...for now I
guess. In the beginning Jews like
Nehemiah and Rachael supported
Mussolini and Fascism...and now
they’re being taken to camps.
ANTONELLA
What kind of camps?
GIORDANO
Transition camps. Nehemiah and
Rachael are Jews that re-located
from Germany long ago...
ANTONELLA
...so they are being sent back to
Germany?
GIORDANO
Let's hope it is the camp in Piea.
I have friends there. Possibly I
could help make their life easier
and possibly keep some sort of
communication line with their
children. Possibly more. Give me
until the morning. Will you be at
the hotel?
ANTONELLA
In the morning, yes. I’ve got to
keep the place up and running until
all of this is over and they
return. Just phone me.
GIORDANO
No more phone calls. I’ll see you
at the hotel in the morning.
They exit the confession booth. Giordano walks her to the
cathedral entrance. She look around then gives him a kiss on
the cheek.
GIORDANO (CONT’D)
There are times when you make me
want to forget my priestly vows.
ANTONELLA
For a priest you are a terrible
liar.
EXT. PIAZZA DEL DUOMO - DAY - MOVING
Antonella exits Duomo, walks down the steps onto the Duomo
piazza. Across the small piazza, at the Santa Maria della
Scala Hospital (SMS Hospital), she hears a loud clanging
noise coming a rarely used side entrance and she walks over
following the noise. She slowly looks into the dark entrance
door. Francesco septs out.
FRANCESCO BIANCHI, late 20s, teaching professor and head of
Siena University Archaeology Department. He is low-key,
confident, slow to react, intelligent and savvy. He and
Antonella have been lovers for years but never felt the
pressure to marry. He, Antonella, Giordano grew up together
in Siena.
Genres:
["Drama"]
Ratings
Scene
12 -
A Divided Path
INT. SMS HOSPITA - DAY
ANTONELLA
Francesco!
FRANCESCO
Anto! (Antonella)
ANTONELLA
What are you doing here?
FRANCESCO
What are you doing here?
ANTONELLA
I was leaving Duomo, heard the loud
clanging sound and just wanted to
make sure everything was OK.
FRANCESCO
Our dear Saint Antonella, you will
save the world if only we will let
you.
ANTONELLA
So what is an archeology professor
doing at the hospital?
FRANCESCO
I got a call from the hospital
construction crew to come over take
a look. It's probably just another
great big Italian hole in the
ground but you never know. But the
Romans were here earlier and our
Etruscan ancestors before
that...so...
(MORE)
FRANCESCO (CONT’D)
(pause)
What’s wrong.
ANTONELLA
They took Rachael and Nehemiah.
FRANCESCO
Who took them.
ANTONELLA
Who do you think?
FRANCESCO
The fascists soldiers.
ANTONELLA
Well of course it was the fascists.
They took them because they were
Jews. We have to do something.
FRANCESCO
Antonella, we’ve been through all
this...
ANTONELLA
And we’ll continue to go through it
until you realize the world outside
your precious University is
changing...has changed. We are
being run-over by an illiterate mob
of thugs.
FRANCESCO
We have been run-over by illiterate
mobs of thugs for 2,000 years,
Antonella and we are still here
because that's what we do: we
Italians stay and we endure and we
are still here. Barbarians come
and go and we stay. I will take
care of my family and friends
because I believe that if I do, we
will be here when this is over.
But...just to repeat past
conservations...I will not join
someone's current resistance
movement just to celebrate my
opposition to the unstoppable
forces of the unfolding of
barbarian history in Italy.
ANTONELLA
I'm not asking you to join
something.
FRANCESCO
Good.
ANTONELLA
I'm asking you to start something.
With me.
FRANCESCO
The answer is always the same. No
reason to have this discussion
again.
(pause)
What about the Aresburgs.
ANTONELLA
They were taken away from the hotel
a couple of hours ago; the police
gave them ten minutes to pack their
belonging and offered no
information about why or where they
were being taken. I just came from
Giordano. He thinks Nehemiah and
Rachael are being shipped to a
refugee camp near Piea where the
first wave of Jews from Tuscany
will be kept before they are
shipped back to Germany.
FRANCESCO
My cousin lives in Piea. I'll see
what I can find out.
(pause)
Since grade school we’ve known how
gossipy Giordano can be however I
am some times surprised at his
knowledge of current events...it
surpasses local gossip. How does he
know about a camp near Piea, and
how does he know who's going to be
taken there? And we all laughed at
Giordano when he told us long ago
that one day the Jews in Italy
would not be allowed to own
businesses, or vote, or teach
school, or marry non-Jews. That
happened. This year. A better
questions would be why does he know
these things. Why does our old
school chum know so much about all
this camp.
ANTONELLA
Because the Fascists assume the
Church supports their endeavors to
rid Italy of Jews. Giordano’s an
important man in the Church now and
so they tell him things. And...
FRANCESCO
And?
ANTONELLA
...and I think Giordano has put
himself in jeopardy by passing
information on to me. He knows I
want to help and he wants to help
too.
FRANCESCO
OK, OK. We'll go with that for now
and hope you are right. Sometimes
you are. Look, we both love
Giordano, but I don't want you to
pay the price for doing good deeds
that Giordano is afraid to do or
won't do. Or falling into a trap
set by Giordano or into a trap set
for Giordano. You can't take care
of the whole world Anto
(Antonella). But...you can take
care of yourself.
ANTONELLA
I thought I had you for that.
FRANCESCO
Oh you do. But I'd appreciate a
little help every now and then.
Duomo bell tower chimes. She kisses him on the cheek.
ANTONELLA
I'm late, I have to relieve Ilaria
at the hotel--I am so terrible at
this hotel stuff and....I have
students at Chigiana, and I have a
meeting with Olga and Paolo later
about some sort of festival I
promise you I have no time for...
FRANCESCO
Life among the barbarians does go
on.
ANTONELLA
I’ll be sure and relay that to the
Aresburgs next time I see them.
(he winces, she stares at
him a beat then leaves)
EXT. STREET - DAY - MOVING
Antonella leaves, keeps a fast pace through the pedestrian
streets of Siena until she reaches the Palazzo Hotel. She
enters the entry card room/bar/reception full of people with
luggage. Among them are Paolo, Bruno and Evie, two Italian
fascists soldiers and two male Nazi soldiers with one woman
nazi. Plus a well heeled middle aged English tourists couple
and two families that appear more like refugees than
tourists. Ilaria stands behind the desks. Antonella enters
and Ilaria crosses herself. The tourist couple are sharing a
newspaper with the headline: “Austria bows to Germany”
INT. HOTEL PALAZZO - DAY
ANTONELLA
So. How are we doing?
Genres:
["Drama","Historical"]
Ratings
Scene
13 -
Whispers of Resistance
EXT. AL MANGIA OUTDOOR BAR - NIGHT
BRUNO
I’m still confused about your
friend Antonella. She was the clerk
who just checked me in at the
hotel. I thought she was a
professor at the conservatory. If
she’s going to join us here, how a
little history here.
EVIE
That might be helpful.
PAOLO
Sure. In the mid 1600s--
EVIE
1600?
PAOLO
Here, 250 years is a "little"
history.
EVIE
Waiter...more wine.
PAOLO
In the renaissance, the Tromboli
family was one of Siena’s
wealthiest families. They were
merchants and international
traders. They built Palazzo
Tromboli in the late 1700s as a
family residence in Siena and it is
pretty much the Hotel Palazzo you
see today. In the late 1800s the
Italian economy was winding down
while something that became know as
the "Grand Tour" was winding up.
EVIE
"Grand Tour" as in people from
England touring Italy.
We see a flashback montage as Paolo tells the story.
PAOLO
...and the United States. They
came to Italy for months, sometimes
years. At the turn of the century
25% of the population of Florence
was British. True. About this time,
one of the Tromboli fell in love
with and married Anne De Pasquale a
Jewish girl from Florence. They
Settled Siena and....in a matter of
time the new Mrs. Tromboli
suggested that they start taking in
guests at the Palazzo Tromboli in
Siena to help supplement a rapidly
dwindling family fortune.
EVIE
You mean having guests stay in your
home and pay to stay...in your
home? ...or in this case your
palace.
PAOLO
Exactly. A hotel. In the beginning
Palazzo guests had to have “letters
of recommendation” in order to stay
at the Hotel. No doubt to appease
the Tromboli elders who thought
Anna’s idea was “common”. However,
it added to the hotel’s allure. The
Fords and Carnegies stayed there.
Henry Clay Frick’s daughter still
has her own private suite there.
EVIE
So where does Antonella come in?
PAOLO
In the next century.
EVIE
Waiter!
PAOLO
And this is really the best part of
the story because it’s Siena’s
story. So the "Grand Tour"
tourists, of course, wanted to send
home to the U.S. or England,
something as "grand" as they
thought they were: paintings,
furniture, sculptures, rare books
and documents of all kinds. And,
because of the Tromboli family's
history of foreign trade, they
became one of the country's most
successful sellers and shippers of
Italian Renaissance artifacts.
Grand Tourers could stay at the
Tromboli’s Palace Hotel and the
family would “help” them secure
and ship the perfect Renaissance
treasure.
EVIE
Smart.
PAOLO
Supply and demand. Simple enough.
But there was a problem.
BRUNO
They ran out of "supply" before
they ran out of "demand."
PAOLO
They did. The Treasures were gone.
All shipped to the U.S. and
England.
EVIE
So end of story?
PAOLO
No. The beginning.
EVIE
I thought so. Waiter.
PAOLO
The beginning of the biggest
business boon all Siena...and
Tuscany has ever know.
BRUNO
They imported other countries
artifacts?
PAOLO
No.
BRUNO AND EVIE
(pause)
They made them.
PAOLO
They made them. The Tromboli Art
forgery business was the largest
industry in Siena and all of
Tuscany including Florence.
Furniture, chandeliers, rugs,
paintings, manuscripts, priceless
documents, rare books, you name it.
Artisans from all over the world
came here to work. Students came to
study their techniques. Although
the pieces were forgeries, they
were works of art in their own
right. Today these "fakes" are
valuable collectables. The irony
here is that you need a certificate
stating that the work is a "fake"
created during the golden age of
"Siena's Art Forgery" for it to
have value.
EVIE
Certified Fakes.
PAOLO
The men who created all this are
old now but most of those great
forgers are still around today;
Icilio Joni and Umberto Giunti to
name a few. Anyway, just after the
Great War (WW1) Nehemiah and
Rachael Aresburg moved here from
Berlin. Rachael Ebenstein
Arensburg was Mrs. De Pasquale
Tromboli's Jewish niece who had
just married Nehemiah, also a Jew.
(MORE)
PAOLO (CONT’D)
Nehemiah was a printer who also
painted and Rachael had grown up
the hotel business in Germany.
Nehemiah became involved with the
family manuscript and art forgery
business and Rachael ran the
hotel. But business was never the
same after the war.
EVIE
So now we are in THIS century.
Right?
PAOLO
Right. The Great War (WWI) brought
an end of the "Grand Tour" And the
fake artifact business. The
Trombolis had two sons killedin the
war so the hotel business and what
was left of the art and manuscripts
business eventually passed on to
the Aresburgs.
EVIE
So back to Antonella? The singing
hotel lobby girl at the Aresburg's
Palazzo?
PAOLO
The Palazzo is not legally the
Aresburgs hotel...any more and
there is a little history behind
Antonella's new position at the
hotel.
EVIE
More history? Waiter!
PAOLO
Antonella’s story will not take
long.
Antonella and Francesco have just walked up behind Paolo.
ANTONELLA
Antonella’s story will not take
long, Paolo?
The gentlemen stand.
PAOLO
Oh...well...what I meant...was that
historically speaking...
ANTONELLA
Please sit. He's right. This will
not take long. For generations, my
family and the Trombolis and
Aresburgs have been close. About a
year ago we learned that the
Fascist might forbid Jews from
owning property. My parents
purchased the Hotel Palazzo for a
token sum and the Aresburgs
continued to run it as their own.
The Fascists police arrested the
Aresburgs today. But they couldn’t
confiscate their hotel because the
Aresburgs don’t own it.
Technically: I do. I don’t know
where they’ve taken them or when
they’ll be back. To make matters
worse, I don’t know anything about
running a hotel and I don’t know
how to be a mother to their two
teenage children who were left
behind. It is a frightening time to
be alive.
A lone male figure has wondered up to their table and is
listening as he and stands behind Antonella then whispers
loudly
EZRA
Oh bullshit, Antonella. It is a
great time to be alive. The world
will be a better place once we get
the garbage out. Taking out the
garbage may be a distasteful task
but it is a necessary one. Shed a
few tears for Palazzo Hotel Jews if
you like but removing them and
those like them is for the good of
Italy and you know it.
ANTONELLA
I do not....
EZRA
Again, bullshit. See you all
tomorrow at the meeting.
Ezra walks away lighting his pipe.
ANTONELLA
That man is a horrible man.
BRUNO
Did you hear his latest pro-fascist
radio talk from Rome? He’s
accelerating the anti Jewish
movement in Italy and he's using
his “fine arts” connection to
empowered his prominence in
Mussolini’s regime.
ANTONELLA
Today they took away the Aresburgs,
yesterday they took away Angelo
Romano—he’s not Jewish!
PAOLO
But they claim he has a mental
disorder.
ANTONELLA
Exactly. How long before they say I
have a mental disorder--don’t
answer that Francesco--how long
until take me away? We’ve got to do
something.
PAOLO
Too late.
FRANCESCO
Thirty years too late.
PAOLO
There was a time when we Italians
could have stopped this. We didn’t
and now we are paying the price.
ANTONELLA
We are paying the price? Tell that
to the Aresburgs.
(pause)
BRUNO
Well. Just for the sake of keeping
the conversation going, I’ll say
this. I’ll say that some people do
not believe it is too late and they
want to do something. And so they
are...doing something.
ANTONELLA
What do you mean?
BRUNO
(Evie gives Bruno a stern
look)
I’m not personally involved, of
course, not at all. However I’m
told that there is small group of
persons fleeing to Switzerland
looking to come to Italy for the
purpose of getting out of Italy.
This is their last chance. So I’m
told.
ANTONELLA
Out of Italy. To America?
BRUNO
To North Africa then on to the
United States or South America or
England.
ANTONELLA
So...how many? How many persons are
coming from Germany through
Switzerland?
BRUNO
Oh. I would have no way of knowing
that.
(long pause)
PAOLO
You are among friends.
Bruno looks to the AL Mangia waiter (Pierluigi) standing near
by.
PAOLO (CONT’D)
Pierluigi is one of us.
ANTONELLA
So how many?
BRUNO
(quick response)
Fifty-one.
(gasp of wide-eyed
disbelief from the group)
Pierluigi approaches Paolo and whispers in his ear.
PAOLO
He’s right. Follow me.
They follow Paolo to the bar’s back private dining room and
sit at the banquet table.
Genres:
["Historical Drama","War","Political"]
Ratings
Scene
14 -
Divided Loyalties
INT. AL MANGIA INDOOR BAR - NIGHT
ANTONELLA
Fifty-one refugees. Perhaps we
could help. I think there are anti-
Fascists groups in Florence and
Milan and Rome.
FRANCESCO
We are not Florence. Not Milan or
Rome. We are hill town of artist
and musicians, university
professors and winemakers.
Evie raises her glass
ANTONELLA
Exactly, Francesco. That is our
cover.
FRANCESCO
That’s not a cover that’s who we
are.
ANTONELLA
Right as always. Bruno, do these
refugees have papers?
EVIE
(warning)
Bruno!
BRUNO
(disregarding Evie)
Germans don’t needs papers to enter
Italy from Switzerland but they
need papers to get out of Italy and
enter another country.
ANTONELLA
How many have papers?
BRUNO
(pause)
Two.
ANTONELLA
Forty-nine of the refugees do not
have papers.
BRUNO
It’s a slow process...the papers--
all fakes, of course--each set is a
custom job. Passports, exit visas,
permission to travel documents...
all done by hand, time consuming,
expensive.
ANTONELLA
What arrangements have been made?
EVIE
Bruno...
BRUNO
We...they..they have arrangements
to get the refugees from Germany to
Switzerland to Italy then on to
North Africa.
PAOLO
But you can’t move them until they
have papers?
BRUNO
We can move them to Italy without
papers but no further.
ANTONELLA
Where in Germany are they coming
from?
BRUNO
Cologne.
ANTONELLA
Then to...?
BRUNO
Andermatt at the Swiss-Italian
border.
ANTONELLA
Then where to in Italy?
BRUNO
(long, long pause)
Uh...
FRANCESCO
Oh no. No. No.
ANTONELLA
Siena?
BRUNO
I don’t know. Possibly that is an
option.
FRANCESCO
No. That would not be an option.
This discussion is out of hand. My
We’re a small provincial town. If
51 non-Italian speaking people
descended on Siena, Mussolini
himself would round them up and
ship them off before sunset.
EVIE
Unless...unless the 51 people were
coming to this provincial town of
Siena during a week long
"international" event like
say...the Vivaldi Festival Week.
They all slowly turns to Evie. She smiles. No one speaks.
FRANCESCO
(long pause)
And what are you going to do with
these 51 souls once they arrive in
Siena and how would you get them
out of Siena and out of the country
after the so-called international
Vivaldi Festival? You all just
heard Bruno: They have no papers.
ANTONELLA
Yet.
FRANCESCO
Yes, correct, they have no papers
YET.
(pause)
Oh, no. No. No.
ANTONELLA
Most of those old guys are still
here. Nehemiah used to meet with
them to reminisce about the old
days.
FRANCESCO
This is not the old days,
Antonella, these are the new days
of Fascism And Nehemiah Aresburg?
He and his wife are on their way to
a detention camp.
ANTONELLA
Exactly. You are right again.
FRANCESCO
It’s too dangerous to talk about
it. Too dangerous to consider it.
ANTONELLA
It’s too dangerous not to.
FRANCESCO
I want no part of this.
ANTONELLA
We’re all already a part of this.
Francesco leaves the room.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
15 -
Shattered Control
INT. PALAZZO HOTEL - NIGHT
Evie picks up her key and walks up to her suite. From under
the door he can see that the light is on. She slowly opened
the door. MORRIS MAXWELL, her patron from NY is sitting near
a table with a bucket and opened bottle Champagne, two
glasses.
EVIE
Max!
MAX
Hello, Evie.
EVIE
How wonderful to see you. I thought
you were in Venice with Mrs.
Maxwell and the children.
He walks to her and gently kisses her on the lips then walks
back to the table and pours her a Champagne.
MAX
I got your telegram that you would
be in Siena. I had gotten a note
from Ezra that he was in Siena...
EVIE
Ezra?
MAX
Ezra Pound.
EVIE
Oh, that Ezra.
MAX
Brilliant mind. Seems to have this
whole international thing figured
out.
EVIE
Ummm.
MAX
So, after my business stay in
Berlin and Milan, which was
successful-- Maxwell Inc. will
supply Germany and Italy with
Maxwell steel for a long time.
Anyway, after that, I sent
Elizabeth and the boys on to Rome
and we’ll join them there later. I
have some business with Ezra to
help him get back into the U.S. if
he wants to return. But, the reason
I’m here is so I can have some time
alone with you. I’ve missed you.
EVIE
I’ve missed you. And I’m glad you
are here.
(pause)
But by “We’ll join them in Rome”
You mean you and Ezra Pound will
join them in Rome.
MAX
No, silly. You and I will join the
family in Rome after we've had a
few days here together.
EVIE
Max, that sounds wonderful...
MAX
I thought you’d agree...
EVIE
Yes, Yes I do. But I can’t go to
Rome with you. Not just now. There
is a big break in my career on the
horizon. Plus, I have an
obligation...
MAX
That is correct. You have an
obligation to me. We’re going to
Rome. And after Rome we’re going to
the States.
EVIE
Max, I’m not going back to the
States. I’m staying here at least
another year.
She kisses him lightly and he kisses her back.
MAX
No.
EVIE
Then a half year. I’ll be in New
York after Christmas...or, I can
come back BEFORE Christmas if you
like.
MAX
Since you were 14 years old I have
guided your every move and I've
paid for every aspect of what has
become an extravagant lifestyle for
you. An education and a standard of
living most people will never even
imagine. I’ve given you everything
including my love.
EVIE
I’ve given you mine in return.
Haven’t I?
MAX
Unbutton your dress.
EVIE
Max...
MAX
Unbutton it. It’s been a long time.
(she unbuttons her dress)
Let it fall.
(she does)
And your slip.
(she takes it off)
Everything else.
(long pause)
My god you are beautiful.
EVIE
Max, I...
MAX
Shhhh.
Max takes his hand and slowly places it between Evie’s legs.
He leaves his hand there. Evie remains motionless, stares at
him. Then he removes his hand. He adjust his trousers.
MAX (CONT’D)
I want that. And I usually get what
ever I want.
Then he takes her shoulders and moves her to the side. He
picks her clothing slowly one by one — bra, panties, dress,
slip — and gently press the wad of her clothes to his face
and takes a deep breath. Then, very calmly he begins to rip
them into pieces. Evie responds in disbelief but without
hysteria.
EVIE
What are you doing? Why...
She grabs his arm. He strikes her face with the back of his
hand. She staggers, grabs the table, it tumbles over and the
bucket of champagne, glasses crash to the floor. She rushes
to him, he pushes her away, walks to the closet, opens it,
and continues ripping her remaining clothes. Evie stands
motionless.
MAX
For one week, I will be at the Rome
Excelsior. I'll leave your Siena to
Rome train ticket at the Palazzo
reception desk. Your room at the
Danieli in Venice is canceled and
the hotel is sending your things to
me in Rome. You figure it out: Live
with me as a wealthy young virtuoso
mistress in New York or die with
your broke music friends in Siena
while waiting for your big break.
Remember. The only break you ever
really had was the day I took a
fancy to you.
Max turns to leave but stops. He backs back into the room and
closes the door then walks over, takes her violin case on the
bed.
EVIE
Max, don’t take my violin.
MAX
I’m not taking anything.
He picked up the overturned table, places the case on it.
Takes the violin and smashes it into pieces on the table in
one blow.
MAX (CONT’D)
I hope the symbolism of this moment
is not lost.
EVIE
How could you?
MAX
I do worse than this to people
every single goddamn day of the
week and I’m not even fucking them.
So to speak.
EVIE
Good point.
She stands motionless then, unemotional, goes to the mirror
to examine her damaged face then locks the door to her room.
She looks out the window to see Max leaving the hotel. She
walks to the bed and from under it, drags out a suitcase and
places it on the bed. Inside there are two items, Evie’s
ball gown style concert-dress in red sequins and her prime
violin that had been tucked away for safe keeping. She
returns the items, puts the suite case under the bed once
again. From the floor, she picks up the overturned bottle of
champagne that still has a bit of wine. She sits on the bed
and drinks from the bottle.
Genres:
["Drama","Romance"]
Ratings
Scene
16 -
A Dazzling Entrance
INT. CHIGIANA MUSIC CONSERVATORY CONFERENCE ROOM - DAY
Seated around the large table are Count Chigi and Maestro
Alfred Casella, Ezra and Olga, Antonella, Bruno, Paolo,
Giordano, and some local musicians. There is a faint knock at
room door. Everyone stops talking and listens as the knock
continues. The door slowly opens and Evie enters. She is
wearing the only thing she has left to ware: her full-length
sequin gown and sunglasses to hide her black eye. Jaws drop
and there is silence. She is confident. She smiles.
EVIE
Just couldn’t find a thing to wear.
BRUNO
And representing New York, New York
in the Vivaldi Festival, musician
and Vivaldi historian, my
colleague, my friend, direct from
studies in Venice: the dressed to
kill one-of-a-kind and one-and-
only— (humorously under his breath)
I promise you (more chuckles) Miss
Evie Foster.
Everyone chuckles, the gentleman stand. Most in the room are
smiling. Ezra remains seated and doesn’t smile.
Genres:
["Drama","Musical"]
Ratings
Scene
17 -
Decisions and Prayers
INT. PALAZZO HOTEL - DAY
Evie and Antonella are assessing Evie’s damaged clothes. Evie
is wearing pants and a shirt borrowed from 16 year old
Aresburg son Niccolo.
ANTONELLA
Nothing can be salvaged. Wear
Niccolo’s wardrobe until we find
you other dresses. Do you have any
money.
EVIE
None. If I stay I’ll sell the train
ticket but that will be my only
nest egg for a while.
ANTONELLA
I’ll borrow some clothes for you,
Siena is a generous town. You know,
surely, this Maxwell patron of knew
we would find you new clothes.
(examines the town
clothes)
This all seems pointless.
EVIE
The point is: there won't be any
more clothes like these clothes —
from the best shops in New York —
unless, I returned to the US with
him. And he's right. Anyway I’ve
got a week or so to figure it out.
ANTONELLA
But if you stay, what will you do?
How will you live day to day?
EVIE
I can’t count on two hands the
number of orphanages I moved in and
out of before I caught Max’s
eye..and his ear. As a matter of
record, my survival skills are, I
think, extraordinary...They
mentioned in the Vivaldi meeting
this morning they will hire
musicians for the festival so I’ll
apply. I think they remember me.
ANTONELLA
You have that going for you.
EVIE
If helping Bruno with the refugees
is rolled into the deal, then I’m
sure I will stay. I’ve been a
refugee all my life so this feels
more like saving my family.
There is a knock at the door. Evie opens it.
ILARIA
It’s Father Giodarno. He’s ready
now.
ANTONELLA
For what?
ILARIA
Oh. I don’t know. I thought you
knew. Anyway, he’s in the hotel
chapel. So...ready for prayers I
guess?
ANTONELLA
We could use some prayers right now
so the timing is perfect.
Genres:
["Drama"]
Ratings
Scene
18 -
A Secret Meeting
INT. PALAZZO HOTEL - DAY - MOVING
Antonella departs the room and moves down the wide stairs to
the mezzanine floor. We follow her thought the grand parlor
where Miss Helen Frick is seated at her concert grand
Steinway.
ANTONELLA
Excuse me, Miss Frick.
MISS FRICK
You are excused, Miss Lombardi.
Antonella stops outside the chapel door, takes a breath, and
opens it slowly. She walks inside the small chapel and then
slowly closes the door. Giodarno in kneeling on a prayer
bench and Antonella kneels on the bench near him. He holds
his finger to his lips and “Shhhhh”. They remain silent and
then he takes her hand and places in it a small folded piece
of paper. He says “Amen” and squeezes her hand and stands to
leave. He walks through the grand parlor.
GIORDANO
Excuse me once again Miss Frick.
MISS FRICK
Once again you are excused, Father.
After Giordano leave the chapel, Antonella opens the tiny
paper and reads the type written message: “tonight midnight
be at the university botanical garden”
Genres:
["Drama","Mystery"]
Ratings
Scene
19 -
Caution at Al Mangia
EXT. AL MANGIA OUTSIDE BAR - DAY
Antonella and Francesco are seated and he is reading the note
from Giodarno.
FRANCESCO
You’re not going to do this?
ANTONELLA
Meet Giordano at the University
garden? Why not? We grew up playing
there as children.
FRANCESCO
Two things stand out. One, it’s
midnight and two, you’re not a
child any more so stop acting like
one. It could be a set-up. He may
not even know that it’s set-up.
Giordano may be being manipulated
by the people who have empowered
him. You can’t do this.
ANTONELLA
OK.
FRANCESCO
I know that “OK”. Antonella....
Evie approaches the table she is wearing Nicholo’s boy
clothes.
EVIE
Antonella. Francesco...
A voice down an adjacent outdoor bar.
VOICE #1
Maestro, maestro! Welcome to Siena!
VOICE #2
Maestro, over here. May we buy you
a drink?
Evie notices the two patrons at the adjacent outdoor bar who
are waving at her and are now headed her way. About 10 feet
from her they slow down their walk.
VOICE #1
Oh. Who are you?
EVIE
“Oh”. Who are YOU?
VOICE #2
Sorry. We thought you were Maestro
Alessandro.
EVIE
Who?
VOICE #2
The conductor from Rome.
EVIE
This is the second time this has
happened this morning.
VOICE #1
Our apologies sir.. madam. Our
apologies.
They back away. Francesco studies her face.
EVIE
What are you looking at.
FRANCESCO
Nothing. It’s nothing.
EVIE
You know, being confused for being
a man twice is not exactly the
highlight of an otherwise
devastating week. Gotta go. Oh, by
the way, you two look adorable
together.
Evie start to walk away.
ANTONELLA
AND apparently you look adorable in
pants...in a mannish sort of way.
(pause)
Oh, see my sister, she’s bring
clothes to the hotel as soon as she
can.
PIERLUIGI
Phone professor.
FRANCESCO
Coming! Wait here.
ANTONELLA
I’ve got to get back.
FRANCESCO
Just to make sure we
understand...You can’t go tonight.
You can’t send anyone to the
garden. And you can’t tell anyone
about Giordano’s note about the
garden.
(pause, whispers)
And...You are not the self
appointed resistance queen.
Understand?
ANTONELLA
I understand.
PIERLUIGI
Professor!
Francesco leave the table but stops and turns back to
Antonella.
ANTONELLA
I understand!
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
20 -
A Night of Reunion and Escape
EXT. BOTANICAL GARDEN - NIGHT
There is a large neighborhood outdoor party nearby, loud
music and occasional fireworks. Antonella walks in the
entrance near a University building. Two figures step out.
One is wearing a German uniform, one a Red Cross nurse hooded
cape, a third figure, draped in black, is far away. The man
removes his cap and the woman removes her hood. There is a
flash of light. We see it’s the Aresburgs. The third figure
runs away.
ANTONELLA
Oh my God. Racheal! Nehemiah!
They embrace. Fall to their knees.
RACHEAL
The children?
ANTONELLA
Wonderful. Missing you and worrying
too much but...wonderful.
NEHEMIAH
The hotel?
ANTONELLA
Not so wonderful...also missing
you. The Fascists and Germans have
taken over much of the Palazzo but
NEHEMIAH
Do you think you could hide us
there for a while.
ANTONELLA
Of course the staff and the guest
have the third and top floors. The
soldiers never bother the us.
They whisper as they leave through the Botany gardens towards
the adjacent Palazzo Hotel gardens.
NEHEMIAH
We have a contact. Can you help us
find a German musician named Bruno
Bauer?
ANTONELLA
Are you still in good terms with
Umberto and Icilio and the others
from the old days?
NEHEMIAH
Yes.
ANTONELLA
Do you still play the trumpet?
NEHEMIAH
Well it’s been years since---
ANTONELLA
Rachael the violin?
RACHEAL
Viola. Also, it’s been--
ANTONELLA
Yes, I know Bruno Bauer and we are
going to get you and the children
out of Italy until this madness is
over.
INT. BOTANICAL GARDEN OFFICE BUILDINT - NIGHT
On a third story window of the dark Botany building Francesco
is holding a rifle ready to shoot. Antonella, racheal, and
Nehemiah walk away and he lowers the rifle.
Genres:
["Drama","Historical Fiction","War"]
Ratings
Scene
21 -
Tensions in the Conservatory
INT. CHIGIANA MUSIC CONSERVAORY CONFERENCE ROOM - DAY
Same conference room Chigi people as before with the
exception of Olga who is in Turin. There is a knock at the
door, Evie enters, she is still dressed in Niccolo’s
paints/shirt.
BRUNO
I was thinking of something “in-
between” but...we’ll leave that up
to you.
EVIE
Sorry for the attire. I’m working
on a solution...long story.
EZRA
I’m sure.
COUNT CHIGI
You don’t owe us an explanation,
Miss Foster. One brief announcement
before we start.
(MORE)
COUNT CHIGI (CONT’D)
Maestro Alessandro Romano of the
Naples Opera, formerly of the
Venice Grand, the Florence Santa
Croce Opera, the list goes on...he
is in is Siena as my guest. I want
him to join our team as our Vivaldi
opera authority.
COUNT GUIDO CHIGI SARACINI (historic character) established
the Accademia Musicale Chigiana in Siena, Itlay, with the
advise of composer conductor Alfred Caserlla.
ALFRED CASELLA (historic character)Composer, pianist,
conductor born in Turin, Italy. Studied at the Paris
Conservatory under Faure. He made his American conducting
debut in 1921 with the Philadelphia Orchestra. He and Ezra
Pound supported the Fascist Cultural Nationalism and both
were important in the organizing Siena’s Vivaldi Festival
Week.
CASSALA
Wonderful news. Yes. But with all
due respect we can manage with the
group we have. You know, too many
cooks in the kitchen and all that.
COUNT CHIGI
And what an excellent cook
Alessandro will be.
CASSALA
Yes of course. He will be welcomed.
Well, I believe we are all here.
Except Olga who is on her way back
from the Turin library. There have
been some problems with the Vivaldi
manuscripts. Dr. Gentili, head of
the Turin University Library who
purchased the 800 discovered
manuscripts is having some problems
with one of the past Vivaldi
manuscript owners concerning
performance rights.
EZRA
Maestro, lets not beat around the
bush here. Gentili is a Jew.
EVIE
So?
EZRA
So...under the new Italian laws,
whatever Gentili thinks—or doesn’t
think—about performance rights on
the second set of Vivaldi
manuscripts no longer matters.
Nothing he says or does affects us.
He no longer has rights at the
Turin University Library. He is a
Jew and his authority as an
educator is over; his rights as
citizen of Italy no longer exist.
I am aware of the problems with the
second set of Vivaldi manuscripts.
Olga and I can handle the
performance rights. Gentili is a
Jew and--
EVIE
--Yeah, we got that.
EZRA
So, Maestro Cassala, we stop
talking to him. It’s a waste of
time. Sitting around this table are
enough influential persons to
assure us that Rome is not going to
interfere our little music
dilemmas. We want Vivaldi...we take
Vivaldi. We want to perform
Vivaldi, we perform it.
EVIE
Not exactly the way I saw this
noble endeavor unfolding.
EZRA
Just to be clear no one at this
table cares what you think. You are
here in this group by the good
graces of Olga which I now realize
was a mistake. “Noble endeavor”
indeed.
COUNT CHIGI
(quickly)
This committee is set. You and Olga
should not be saddled with the
burden of deciding on a day to day
basis who should serve.
EZRA
I...
COUNT CHIGI
Plus it is good to have diversity.
We hope for an international
audience, It’s good to have an
American here with us.
EZRA
Must I remind you that I am an
American?
EVIE
Yeah, I think you must. Remind us.
CASSALA
(quickly changing the
subject)
Ezra, a report on the Vivaldi
manuscripts in the Dresden library?
EZRA
Yes, it was an amazing re-discovery
of Vivaldi scores. Forty Vivaldi
orchestral scores are on their way
to us via microfiche.
CASSALA
Wonderful.
COUNT CHIGI
Thank you Ezra. Let me add that all
of us at this table know that none
of this would be at this table were
it not for Ezra and Olga. We will
work hard to make this dream a
reality. Lay aside political
differences, personal differences,
artistic differences. And yes, I
agree with Miss Foster, it is a
noble endeavor. Bringing to life an
unknown composer who just might be
one of the greatest undiscovered
Italian composers the world has
ever known is a noble endeavor.
That’s all I have. Just wanted to
share the news about Alessandro
joining us and get an update on
Turin and Dresden first of all. Now
on to our committees. Festival
Dates and publicity...
(a few raise their hands)
Meet in the library...Printed
programs and repertoire ...
(a few raise their hands)
Meet here in the concert hall...
(MORE)
COUNT CHIGI (CONT’D)
Musicians and singers...
(a few more hands
including Evie, Paolo,
and Giordano)
Meet here in the boardroom. I’ll be
in my office if I’m needed.
They stand and start to disperse.
Genres:
["Drama","Historical"]
Ratings
Scene
22 -
A Warm Welcome at Chigiana
INT. CHIGIANA MUSIC CONSERVATORY - MOVING
Paolo, Bruno, and Evie, along with the committee members, are
walking into the conservatory hallways and down the stairs.
At the bottom of the first floor stairwell, Maestro
Alessandro Romano walks out of Count Chigi’s office as Paolo
and Evie descend the stairs.
ALESSANDRO ROMANO, mid 40s, opera conductor currently at
Teatro di San Carlo in Naples. He is the epitome of European
charm and grace. However, his allegiances during this time
are confusing.
PAOLO
Maestro! I heard you were here. How
are you?
ALESSASNDRO
Wonderful. So good to be back in
Siena.
They continue down the stairs to the ground floor.
PAOLO
Maestro, this is Miss Evie Foster
from New York and this is former
wunderkind and current visiting
artist at the Florence Conservatory
from Cologne, Bruno Bauer.
They shake hands as the move on.
ALESSASNDRO
Mr. Bauer, it’s a pleasure. Miss
Foster: New York. We’re glad you
are here...since most of us would
love to be where you came from.
EVIE
(quickly)
About my current attire...
BRUNO
...there was a little luggage
mixup...
EVIE
...well, kind of a big one...
ALESSASNDRO
Of course. Happened to me last
month between Naples and Rome. Wore
the same suite for 4 days in a row.
Anyway, you look charming.
They exit the Conservatory’s courtyard onto the pedestrian
street.
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
23 -
A Stroll Towards Il Campo
EXT. STREET - DAY - MOVING
ALESSASNDRO
I’m meeting friends for dinner at
Guido’s but am a bit early. I’d
love to buy you all drink if you’re
headed by Il Campo.
PAOLO
Another time Maestro, Bruno and I
have a prior obligation.
ALESSASNDRO
Miss Foster? That is if you
wouldn’t mind being in the company
of an older man.
EVIE
(grins)
I’m pretty much OK with that.
(Bruno winces)
Bruno and Paolo move on ahead leaving Alessandro and Evie to
stroll to Siena’s Il Campo town square.
ALESSASNDRO
You Americans fascinate me.
Fascinate the world actually. What
brings a young New York musician
like yourself to a little
provincial town like Siena?
EVIE
The long or the short version?
Genres:
["Drama","Character Study"]
Ratings
Scene
24 -
Revelations at the Bar
EXT. AL MANGIA OUTDOOR BAR - DAY
They sit at Al Mangia. The two men who had approached Evie
earlier calling her “Maestro” approached the table and look
at Evie then Alessandro then Evie again then Alessandro again
then wave at them and walk away with a puzzled look on their
face.
The noise of Siena's outdoor cafe crowd becomes louder. We
can partially hear Evie’s voice as it weaves in and out of
the crowd chatter. We can see Alessandro's faces as he reacts
to Evie’s story. At first he is politely.
EVIE
I was raised in NYC foster homes, I
didn’t even know my last name but
as a child I heard foster so much I
thought I must be Evie Foster...had
the name ever since...
(crown chatter)
Turns out I was something of a
music prodigy “little Miss Mozart”
they called me. When I was 14
wealthily art patron Maxwell...
(crowd chatter)
...so when I finished NYC college
Max gave me the chance to study in
Europe. I choose Venice instead of
Rome because...
(crowd chatter,
Alessandro’s mood changes
to concern)
...Teatro di Fienze....Miss
Dumont....Sophia
Stallenberger....Venice
Hospital...HMS Liverpool...
ALESSASNDRO
Evie, how old are you?
EVIE
Twenty-one
ALESSASNDRO
(he pauses, his lips move
as he thinks, then pauses
again)
Listen to me carefully... I was the
assistant conductor at the Florence
opera house when Sophia
Stallenberger sang there.
(pause)
(crowd chatter as he
talks)
He continues to talk but we can't hear him, only the cafe
chatter. We only see an ever evolving close-up of Evie's
face. Pleasant, then curious, then frozen shocked, then tears
begin to fall as Alessandro tells his story of his affair
with Sophia in Florence 21 years ago.
There is a pull back as we see Evie and Alessandro starting
at each other in silence.
I/E. SIENA CHIGIANA CONSERVATORY CONFERENCE ROOM NEXT MORNING
Committee members are there except for Giordano. Evie and
Alessandro are seated next to each other.
CASSALA
Father Giordano?
COUNT CHIGI
He had a meeting. He’ll be here
shortly. Glad to see Maestro Romano
here and glad to know you are on
board. I see you’ve met our
representative from America.
ALESSASNDRO
It’s a pleasure to be here.
Suddenly there’s a loud siren repeating in short piercing
bursts. Everyone around the table looks to the others as some
stand.
COUNT CHIGI
Yes. We’d better go. All of us.
EVIE
Go where?
ANTONELLA
Piazza del Duomo. That’s the new
signal for the town to gather.
DOn’t worry, it’s another drill and
so annoying.
Genres:
["Drama","Romance"]
Ratings
Scene
25 -
A Curious Inquiry Amidst the Alarm
INT. CHIGIANA - DAY - MOVING
They file out of the Chigi conference room and down the
stairs. Bruno catches up with Antonella and Evie.
BRUNO
So what happened with you and
Alessandro last night?
EVIE
Later. It’s a long story.
ANTONELLA
Every story is a long story with
you Evie.
They leave the Chigi conservatory and join the crowd that has
filled the street and is moving to the Duomo piazza. The
intermittent alarm continues.
Genres:
["Drama"]
Ratings
Scene
26 -
Defiance in the Face of Oppression
EXT. PIAZZA DEL DUOMO - DAY
A line of about 20 uniform soldiers are stranding shoulder to
shoulder across the Duomo marble porch near the cathedral
entrance. A half dozen priests are paraded out and stand in
front of the soldiers. Antonella sees Francesco in the crowd
of locals and runs to him.
ANTONELLA
What is this? Why is Giordano up
there?
FRANCESCO
One of two things. Neither one of
them is good.
A flamboyantly dressed Italian Fascist officer steps up to a
microphone with speakers in the cathedral bell tower. His
words echo, echo across the piazza.
FASCIST OFFICER
We arrested our first group of Jews
recently and two of them have
escaped. They escaped with the help
of traitors. Traitors that are
among us.
Antonella becomes weak in the knees, starts to faint.
Francesco grabs her waist props her up.
FRANCESCO
No Antonella.
FASCIST OFFICER
So for future reference we thought
you should know how we deal with
traitors.
The officer pulls out a pistol and walks behind the line of
priests/nuns. He presses the gun to the back head of a
priest. The priest is whispering a prayer and the officer
fires point-blank at the back of the priest’s head.
Blood splatters the crowd in front of him and the priest body
tumbles down the Duomo steps. The crowd screams and panics,
turns to leave, but they soon realize they are surrounded by
shoulder-to-shoulder troops.
FASCIST OFFICER (CONT’D)
There, that should be a good
reminder of what happens when you
are a traitor. BUT, just in case
this wasn’t enough, here is another
traitor.
Officer goes behind the line and puts his gun to one of the
nun’s head.
FASCIST OFFICER (CONT’D)
BUT, just in case this wasn’t
enough, here is another traitor.
He pulls the trigger but she has moved a bit so the bullet
only glazes her, she falls down the steps and the officer
fires several shots into her soon lifeless body. Then the
officer again approaches the microphone.
FASCIST OFFICER (CONT’D)
Il Duce relies on priests and nuns
who realized necessity of honorably
purging our country of
undesirables. People of faith
remember the race that killed our
Jesus Christ. These anti-Christ
people must be removed. BUT some of
our clergy have become the greatest
traitors of them all. Father
Giordano step forward. You are the
greatest traitor of them all. We
gave you information and you used
it against us. You had us all
fooled but no more. And this is
what happens to traitors who try to
fool Il Duce.
He places his pistol to the side of Giordano’s head and
fires. Blood splatters the priests to his side and Giordano
collapses down the Duomo steps.
FASCIST OFFICER (CONT’D)
That is all. Those are your
reminders for the day. There will
be more of these reminders if
necessary. Remember that. You may
go.
But the crowd remains motionless. Francesco makes his way
through the crowd and picks up Giordano’s body then turns to
carry him across the piazza toward the Santa Maria della
Scala (SMS) Hospital. A couple of others lift up the bodies
of the other priest and nun and follow Francesco.
FASCIST OFFICER (CONT’D)
Stop. Stop. Someone stop him. Stop
them. Stop.
The crowd gathers tightly around Francesco and the others as
they carry the bodies. The tight crowd leaves a small circle
clearance for them to walk and they open/close the small
clearing as they makes his way through the tight crowd
protecting them from any interference. Officers try to get to
Francesco but can not penetrate the dense crowd.
OFFICER
I said stop.
Antonella, tears streaming, is at the hospital door and opens
it as Francesco and the others approach then closes it once
they are inside.
OFFICER (CONT’D)
Stop!
Genres:
["Drama","War"]
Ratings
Scene
27 -
A Hidden Reunion
INT. SMS HOSPITAL - DAY - MOVING
Antonella closes the door after the last one carrying the nun
is inside. They follow Francesco as he carries Giordano’s
body through the hospital halls into the morgue. He lays
Giordano on a table and the other bodies are laid beside him.
Antonella covers them with a sheet but Francesco removes it
and tosses it to the side. Antonella takes Giordano’s hand
and, still in tears, kisses it. She the two others turn to
and leave.
FRANCESCO
Antonella, just a minute.
She stays at his side as the others depart. He stands there
motionless. She waits.
ANTONELLA
Francesco...
FRANCESCO
Shhh...
Still motionless, his breathing becomes more labored.
ANTONELLA
Francesco.
FRANCESCO
(long pause)
Follow me.
He leads and she follows him as he walks though the expansive
halls of SMS Hospital wings. They arrive at the hole in the
floor where, earlier, Antonella had found Francesco
excavating. It is a tight squeeze as they drop down the hole
into the dark level below. Francesco turns on a flashlight he
had left earlier to expose an expansive cave the size of a
large ball room with what appears to be adjoining caves and
tunnels.
ANTONELLA
My god. What is this?
FRANCESCO
Undiscovered Etruscan caves. A
labyrinth of them I suspect. When
you saw me here the other day, it
was because Giordano had phoned me
about a strange discovery he had
made while inspecting construction
on the hospital chapel renovations.
No one knows this is here.
ANTONELLA
So why are you telling me this?
Now?
FRANCESCO
This is large enough to set up a
temporary factory. A hidden
factory.
ANTONELLA
What?
FRANCESCO
Tell the Aresburgs--
ANTONELLA
--The Aresburgs?
FRANCESCO
I was in my office when Giordano
brought them to you in Botany
garden.
She smiles and gives him a kiss.
ANTONELLA
Tell them...what?
FRANCESCO
Ask them to contact Icilio Joni and
Umberto and the artists from the
old forgery days.
ANTONELLA
And them...what?
FRANCESCO
“Welcome to the reunion”.
As their speaking becomes more muffled, we see time-lapse
moving forward to show the large center cave being filled
with lights strung from the ceiling, lumber plank tables on
sawhorses, then 30 or so elderly artisans busy with pen and
paper.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
Candles and Secrets
EXT. PIAZZA DEL DUOMO - DAY
Francesco, coming down the steps as he exits Duomo, is headed
for the Santa Maria della Scala hospital (SMS) entrance;
Paolo is waiting at the front door, greets him with an
inquisitive look.
FRANCESCO
I’ve been lighting a light a candle
there most morning since I was 12.
PAOLO
This may take more than a candle.
FRANCESCO
We’ll see. Are any of them still
here?
PAOLO
The Aresburgs, Icilio and Umberto
and a few of the others are. Some
days soldiers are here so we’ve had
the hospital list the gang as
patients or friends of patients.
Anyway they are so old that
everyone will assume they are here
for a treatment. Most of them live
only a block or so away...otherwise
they would have never made it here
to work every day.
Genres:
["Drama","Historical"]
Ratings
Scene
29 -
Secrets Beneath the Hospital
INT. SMS HOSPITAL - DAY - MOVING
They walk back through the hospital kitchen and to a storage
room door. There is a “guard” dressed in a cook's apron; he
smiles and moves from the door to allow them entry. Once
inside the storage room they slide several crates and open
the hidden trap door and we can see the lighted passages and
ladders that lead to the caves below. They head down the
stairs.
FRANCESCO
What is that smell?
PAOLO
Ink and other chemicals.
FRANCESCO
Can we do anything about the
ventilation.
PAOLO
We’re working on it.
FRANCESCO
Do you think we have adequate
supplies?
PAOLO
I’ve gotten ink and paper from my
father’s bank and Antonella and
Evie are getting a few more from
the Vivaldi Festival printing
rooms.
Genres:
["Drama","Thriller"]
Ratings
Scene
30 -
Navigating the Caves: Guest Preparations and Innovations
INT. SMS HOSPITAL CAVES - DAY
They make their way down the ladder to the connecting caves
an expansive labyrinth with ping-pong size tables with naked
light bulbs hanging down. They move through the cave rooms
greeted by the artists mumbling words of encouragement. There
is a grinding sound echoing far away.
FRANCESCO
Any news on our guests arrival
date?
PAOLO
Bruno says soon; the exact date is
not up to him. He will borrow two
small buses from the Florence
Conservatory when the time is
right.
(MORE)
PAOLO (CONT’D)
He and Evie will meet the group in
Switzerland near the border and
bring them to Siena.
FRANCESCO
I’m surprised Evie can drive.
PAOLO
(pause)
She volunteered...I probably should
check that out. And you’ll house
some of them?
FRANCESCO
Some of them at the villa. Most
will be housed in homes in the city
center.
The grinding sound is loud. Paolo stops at an artist’s table.
PAOLO
What is that sound?
ARTIST 1
Umberto invented a new ventilation
system for us while we’re working
down here. They’re installing it
now.
PAOLO FRANCESCO
Good.
ARTIST 1
He said the fumes were interfering
with the taste of his wine.
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Rehearsal Revelations
INT. CHIGIANA MUSIC CONSERVAORY CONCERT HALL - DAY
Accademia Chigiana concert hall, Evie and Antonella alone on
stage. Antonella is seated at the piano. A musician carrying
a cello case enters.
MUSICIAN #1
Is this the audition for the
Vivaldi Dresden pieces?
EVIE
No, orchestra auditions were
yesterday.
ANTONELLA
Today is choir rehearsal for the
Vivaldi Gloria. Do you sing?
MUSICIAN #1
I might. How much does it pay?
EVIE
Singing is voluntary. Only the
instrumentalists are paid.
MUSICIAN #1
Then I don’t sing.
Musician #1 turns and leaves
ANTONELLA
So, you and Alessandro believe you
are father and daughter?
EVIE
Yes. It's crazy I know. He was
assistant conductor at Teatro della
Pergola in Florence when Sophia--my
mother--was singing Handel’s
Rinaldo. Apparently, they liked
each other...
ANTONELLA
Apparently.
EVIE
Love a first sight and all that, he
says; they pretty much shattered
the ten commandments on the spot
the day they met, he says.
ANTONELLA
How Italian.
EVIE
They were inseparable the run of
the opera. She sent Mrs. Dumont her
coach/dresser on to Milan because
she knew Dumont would not approve.
After the Rinaldo run ended, she
broke off the affair before leaving
for La Scala in Milan. He wrote
her...several times he said...she
never answered. He even went to
Milan but she'd gone. Later that
year that he learned of her
drowning on the HMS Liverpool.
ANTONELLA
Incredible.
EVIE
He said that she had a friend who
was a doctor in Venice so probably
that part of Mrs. Dumont’s story
was correct also.
ANTONELLA
So finding Vivaldi in Venice lead,
in a way, to your father.
Evie opens a locket around her neck.
EVIE
That’s her. In Florence. Sophia
gave it to him before they broke up
and she left for Milan. He gave it
to me last night. Later on, he
married. He married Marta Moretti--
ANTONELLA
The soprano Marta Moretti?
EVIE
Yes. Apparently there was a
preference for sopranos. Over the
years Marta Moretti had several
miscarriages. The last one was late
term and both she and the baby
died.
ANTONELLA
How tragic.
EVIE
Yes. He was having a great career
but continue loosing the things he
loved most: Sophia, Marta, the
babies...
ANTONELLA
But not any more. He found you.
EVIE
Yes.
Alessandro enters on the stage and walks behind them.
ANTONELLA
Silly question but what are you
going to "call" each other?
ALESSASNDRO
It’s not a silly question, really.
Alessandro takes the locket, looks at it before closing.
ALESSASNDRO (CONT’D)
What am I going to call you?
EVIE
Evie.
ALESSASNDRO
Easy enough. What are you going to
call me?
EVIE
Maestro.
ALESSASNDRO
Not the most endearing...
EVIE
“Maestro” and “Evie” until after
Vivaldi week. It’ll be our little
secrete until then.
ALESSASNDRO
As you wish.
Singers start arriving and taken seats sporadically
throughout the Chigiana concert hall. They are all very old.
Alessandro turns to the singers.
ALESSASNDRO (CONT’D)
Please, all of the singers, come up
here and sit. Do you all have
music?
ANTONELLA
They don’t all have their music.
Yet. There is a shortage of paper
and ink and we...
ALESSASNDRO
Very well. Choir, do your best to
look on. We’ll take it from the top
of the first movement.
Alessandro motions for Evie to come to his side and he moves
her to the front of the director’s stand.
ALESSASNDRO (CONT’D)
All right, Miss Foster...
EVIE
...Evie.
ALESSASNDRO
...Evie, OK, Evie, you take it from
here.
EZRA
Take what?
ALESSASNDRO
The Vivaldi Gloria. You’re the
assistant conductor aren't you?
(wide-eye pause)
Then assist. The experience will do
you good.
Alessandro smiles, turns and walks toward the exit.
ALESSASNDRO (CONT’D)
Antonella. Evie. From the top.
Antonella starts to play the keyboard accompaniment to the
long intro to the opening movement. Evie gives them a big
prep cue and they start to sing. And it is terrible. As they
continue singing, Alessandro winces as he leaves the concert
hall.
The camera pulls-back into the Chigiana halls and we see
confused looks on the faces of those who have stopped in
their tracks. Passers-by on the pedestrian street outside the
Chigi concert hall window are also confused by the terrible
sound of the choir.
Two of them stop and look up at the open windows of the
Chigiana’s second floor concert hall.
PASSER-BY #1
Modern music!
PASSER-BY #2
Godamned Arnold Schoenberg!
Genres:
["Drama","Musical"]
Ratings
Scene
32 -
A Secret Exchange
INT. SMS HOSPITAL - DAY - MOVING
Bruno walks down the long hospital hall. He ducks into a
small passageway, through the kitchen, and to a small storage
room where a lookout guard is stationed. He says the
passwords.
BRUNO
"Can you help me I’m looking for
the tuberculous ward?”
BOIAN (LOOKOUT)
“There is no tuberculous ward at
this hospital.”
BRUNO
"But I was told there was such a
ward."
Boian relaxes and holds out his hand to shake. They both
whisper.
BRUNO (CONT’D)
You’re German.
BOIAN
You’re German.
BRUNO
Cologne.
BOIAN
Munich.
BRUNO
I teach at the Florence Music
COnservatory.
BOIAN
University of Siena med student.
BRUNO
I’m surprised to find a German in
the Italian resistance movement.
BOIAN
(smiling)
So am I.
Bruno gives him a hug. Boian unlocks the trap door in the
floor. Bruno descends into the caves, makes his way though
the tables with busy artists writing, holding up their paper
work, exchanging it with others.
Genres:
["War","Resistance","Drama"]
Ratings
Scene
33 -
A Toast to Hope
INT. SMS HOSPITAL CAVES - DAY
An old wife and a middle-aged daughter walks among them with
water and wine, a young son follows with a basket of bread.
Bruno makes his was to one of the large back tables with an
old portable printing press on it. Icilio, Unberto, and
Nehemiah Arsburg are there. Bruno hands them a canvas bag
filled with papers. He empties the onto the printing press
table. They spread out the printed documents as they examine
them.
UMBERTO GIUNTI and ICILIO JONI (historic characters), were
two of the most famous artifacts forger from Siena's golden
age of Renaissance Forgery.
BRUNO
Do you know that these are?
NEHEMIAH
Passports, birth certificates, bank
records, visas..
BRUNO
And they are all fakes. Hand made
in Cologne.
They pass around Bruno’s papers
UMBERTO
They’re wonderful. Brilliant.
BRUNO
Have you ever heard of Cioma
Schönhaus?
ICILIO
No. We forgers are not exactly an
international organization, you
know.
BRUNO
Cioma Schönhaus is probably the
greatest forger alive today.
(quickly adding)
“German” forger alive today. He’s
helped thousands of refuges escape
Germany and Austria. Many of them
my friends and associates. But now
he is overwhelmed with request for
papers and I have 50 people who
must get out now.
UMBERTO
Our work was Renaissance forgeries.
This is all modern; photos and
colored ink and stamps. Back then
only money was at stake. Now. This.
People’s lives are at stake.
BRUNO
Yes. Schönhaus sent me these papers
to show you.
(MORE)
BRUNO (CONT’D)
These are Visa applications, tax
documents, police report passports,
kindertransports, bank letters.
They work. They will save lives.
ICILIO
Again, exactly how many?
BRUNO
Fifty. But we don’t need all of
these for each. A passport, a birth
certificate, transit visa then one
of two of the other
papers...different for each person.
We can work out the details when
the refugees arrive. And we won’t
need any of the Kindertransports.
UMBERTO
What’s the Kindertransport?
BRUNO
A child’s traveling passport. We’ll
have two weeks after they arrive in
Siena to get their papers in
produced. We’ll finished by the
time of the Chigiana Vivaldi Music
festival. Everything is geared
around that week when they can move
about town then without being
suspected.
They all view the papers as they pass them around. Other
forgers have gathered around the table and are sharing the
forged documents. Umberto and Icilio finally look to each
other and nod then they nod to Nehemiah then he turns to
Bruno.
NEHEMIAH
We can do it.
Nehemiah picks up his glass of wine then Umberto and Icilio
pick up theirs, the three of them raise their glasses then
the other forgers raise their glasses. Someone places a glass
in Bruno’s hand. And they toast.
ICILIO
To a better world.
ALL
To a better world.
Genres:
["Historical","Drama","Thriller"]
Ratings
Scene
34 -
A Spark in the Night
EXT. AL MANGIA OUTDOOR BAR - NIGHT
Paolo is sitting alone at a large outdoor table. Evie wonders
up.
EVIE
Hello-sranger-new-in-town?
PAOLO
What?
EVIE
American humor.
PAOLO
Oh.
She sets beside him but no one speaks for a while.
EVIE
You don’t like me do you?
PAOLO
What?
EVIE
Everyone else does. Likes me.
PAOLO
I...
EVIE
Most people fine me reasonably
charming. Witty. With a somewhat
mysterious past and uncertain
future. Talented and hardworking.
But you don’t. No explanation
necessary. It’s just an
observation. I just felt like
saying it out loud—as long as there
is just the two of us here—so I
said it.
PAOLO
I...I don’t...
EVIE
I mention this because late that
night in Florence after your
recital, I though there was a
little spark between us. Since I’ve
been in Siena you’ve ignored me. So
I guess I was wrong. About the
spark, I mean.
PAOLO
I don’t know what you are...
EVIE
Paolo.
PAOLO
I’m sorry. Yes. OK. I’ve ingnred
you. I apologize. I’ve been meaning
to stop doing that.
EVIE
Anything else.
PAOLO
(long pause then smile)
Yes, there was a spark.
EVIE
Oh.
(pause)
Anything else?
PAOLO
I don’t like Americans.
EVIE
I see.
PAOLO
They’re are loud, behave like they
are in a motion picture and we
Italians are their bit-players.
They’re show-offs and aloof,
usually overdressed, the women wear
too much makeup, and they are often
unkind to waiters and shopkeepers.
I could go on.
EVIE
Please do.
PAOLO
They drink too much. Are snobs and
don’t know anything about opera.
Plus, they don’t learn even a
little bit of Italian language
except for graze which they
mispronounce.
EVIE
Comprehensive list. How many
Americans have you know?
PAOLO
Well.
(pause)
One.
EVIE
One? Me.
PAOLO
That didn’t come out right. Let me
finish.
EVIE
I wouldn’t think of stopping you.
PAOLO
I’ve been around plenty of them. I
never got to know them because I
didn’t want to. I mean, who comes
from half way across the globe to
be in Venice then hangs out in
Harry’s American Cocktail Bar?
EVIE
I do.
PAOLO
Yes, Evie. You do. But let me
finish. I don’t like Americans.
Except for one. Except, I think,
for the one American I know. The
one who comes halfway around the
globe and hangs out at Harry’s and
plays violin in the Piazza
Repubblica in Florence at midnight.
I’m glad you brought that up. It
was very American of you.
EVIE
Is that good or bad?
PAOLO
Good.
EVIE
The spark?
PAOLO
Yes. Still there.
He leans over and whispers in her ear.
EVIE
What does that mean?
PAOLO
Learn a little Italian and find
out.
Francesco approaches the table carrying a satchel.
FRANCESCO
Are we ready?
Evie and Paolo stand and follow Francisco to Al Mangia’s back
dining room.
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
Revelations at Al Mang
INT. AL MANG INDOOR BAR - NIGHT
Francesco, Paolo, and Evie enter the room. Antonella, Bruno,
Boian and a couple of others are already seated there.
FRANCESCO
How is the Vivaldi Festival
progressing?
ANTONELLA
Ups and downs. Orchestra is great,
the opera is good and probably
going to be great, the Gloria
choral piece is well coming along
as they say.
EVIE
(smiles)
I’m not so sure I would say that.
FRANCESCO
I’m sure artistically it will be a
success but I was referring more to
the progress of people coming to
Siena for the--very successful--
Vivaldi week.
ANTONELLA
The Palazzo is already full. Not a
room left in town as I understand.
London, Paris, Amsterdam, Berlin...
PAOLO
Tokyo, South America, New York--
Evie perhaps some people you know--
EVIE
(smiles)
Oh, Yeah, like I know most of the
people...the ones from Manhattan
anyway.
PAOLO
I’ve got to hand it to Ezra.
International publicity has been
miraculous. Roberto at the Revior
in Florence tells me Siena and
Vivaldi are the talk of Tuscany.
FRANCESCO
Good way to start a meeting. Evie,
I know that you’ve become close
with Maestro Alessandro, have you
spoken about any of this--the
refugees I mean--with him?
EVIE
Not a word. Not a word to anyone.
FRANCESCO
Knowing what I know about his past,
I believe that Alessandro would
join us...But I personally don’t
want to take the chance. He is
close to Casella and the Count and
they have survived all these years
because they...well...because they
know how to survive complex
political situation. So, it’s just
us and our band of forgers. And
speaking of forgers...
Francesco opens the case and pulls out some examples of the
forgeries.
FRANCESCO (CONT’D)
These are just their practice
documents but they look like
masterpieces to me.
BRUNO
These are incredibly good.
Documents like this are going to
work.
FRANCESCO
You’re right. Now, Bruno and Evie
in about six days you will drive
the Florence Conservatory buses for
the pickup in Andermatt right?
(they nod yes)
Evie, Evie you can drive can’t you?
EVIE
Well I’ve got a week to learn. I
mean how hard can it be?
FRANCESCO
Evie!
EVIE
Boian’s driving. It’s Bruno and
Boian to Switzerland but I’m going
to tag along to make sure they
don’t mess up.
FRANCESCO
That’s reassuring. Thanks Boian.
Bruno, Umberto was wondering about
the Kindertransports, you know, the
papers for the children.
BRUNO
Yes?
FRANCESCO
They thought you said that
Kindertransports won’t be needed.
BRUNO
That’s right.
FRANCESCO
They were surprised that there were
50 Jews coming, none of them with
children.
BRUNO
Well, well I suppose some...most...
of them are Jews.
FRANCESCO
Some.
BRUNO
Yes, I would say no doubt probably
most, well many are. Jewish.
FRANCESCO
Bruno, you said 50 Jewish refugees
needed our help to get out of
Germany. We know that you are
connected with the resistance and
so we’ve followed your lead. We’ve
all -- literally all of Siena who
opposed fascism -- have moved
heaven and earth and we continue to
risk our lives and the lives of our
families. So who are these people?
BRUNO
I never said “Jewish” refugees.
FRANCESCO
What other kind of German refugees
are there?
BRUNO
Homosexual.
Everyone is frozen.
BRUNO (CONT’D)
They are homosexual refugees.
(pause)
FRANCESCO
So in six days, a busload of
homosexuals--
Bruno holds up two fingers.
FRANCESCO (CONT’D)
--two homosexuals
BRUNO
Two bus loads.
FRANCESCO
--in six days, two busloads of
homosexuals are arriving from
Germany--
BRUNO
Technically, from Switzerland--
FRANCESCO
(long pause, thinking
hard)
Bruno — everyone — I’ll have to
talk to Umberto and the others and
let them know.
BRUNO
I think they'll probably figure it
out when they get here.
FRANCESCO
Is that suppose to be funny?
BRUNO
No, There is nothing funny about 50
homosexuals trying to escape Nazi
Germany.
FRANCESCO
(pause)
I’m sorry. Of course it wasn’t
meant to be funny. This news is a
surprise. Do I speak for us all
when I acknowledge that Umberto and
the others should be informed?
(they nod yes)
Bruno, this is an unsuspected
development...not exactly what we
thought we were fighting for?
BRUNO
Professor. “Unsuspected
development?”
FRANCESCO
Bruno, I....
BRUNO
Here’s an “unsuspected development”
that if you’re heterosexual, you
may have missed: Hitler’s
government declared homosexuality a
mental illness. And to purify the
race, all mentally ill persons must
be removed. Removed as in
exterminated. That is “unexpected
development.” So right now, as I am
speaking, homosexuals and the
mentally ill have just been moved
to Number One on the Gestapo
killing-list. A little gossip from
an angry neighbor...a student who
doesn’t like a professor... is now
a death sentence. That is an
"unsuspected development".
FRANCESCO
Why didn’t you tell us?
BRUNO
Would it have mattered? We agreed
to save human beings, we did not
discuss which classification of
human beings that were worthy of
being saved. So, would it have
mattered?
FRANCESCO
(pause)
No. But I should tell Umberto and
the others. They’re old-timers.
They maybe they’ll understand.
(MORE)
FRANCESCO (CONT’D)
Maybe not. Nehemiah who is Jewish
was the lightning rod for all of
this...anyway, I’ll start by
telling him.
BRUNO
Fair enough. Just to be clear: we
started with a grand plan to save
human beings. Nothing about that
plan has changed.
Genres:
["Drama","Historical","War"]
Ratings
Scene
36 -
A Moment of Resolve
EXT. PIAZZA DEL DUOMO - DAY
Francesco walks out the SMS Hospital door; Paolo sees him
from across the Piazza del Duomo and shouts to him then runs
over. Francesco appears distressed.
PAOLO
You told them.
FRANCESCO
I told them.
PAOLO
And.
FRANCESCO
The older guys were the first to
leave.
PAOLO
They walked out.
FRANCESCO
They walked out. For a few minutes
they kept working then one by one
put down their pens and brushes and
left.
PAOLO
What do we do now?
FRANCESCO
Tell Bruno. He probably knew this
was a possibility so we’ll tell him
so he can contact Andermatt.
PAOLO
Don’t move.
Francesco starts to turn around. Paolo grabs his arm.
PAOLO (CONT’D)
Don’t turn around.
The two stand motionless. Icilio, Umberto, Nehemiah and a
dozen of the old men walking across the piazza, one by one
and approach different entrances. Nehemiah nears the main
entrance, his face wrapped in gauze bandages so no not to be
recognized.
FRANCESCO
You’re back.
NEHEMIAH
We are.
FRANCESCO
You left. After I told you.
NEHEMIAH
It was our wine break. We left for
the bar.
FRANCESCO
You left for the bar...I thought...
NEHEMIAH
Sometime I think you do too much of
that.
FRANCESCO
What?
NEHEMIAH
Thinking
Nehemiah, turns to enter the hospital then returns to
Francesco and Paolo.
NEHEMIAH (CONT’D)
During the break I did mention that
they could never imagine what it is
like to hated and persecuted
because of who you were born. And
then I said: I’m going back to
work. And here I am.
FRANCESCO
And here they are.
Nehemiah adjust his face bandages then enters the hospital.
Francesco and Paolo watch him enter and turn to each other.
PAOLO
And here we are.
Francesco slaps Paolo on the back and starts to walk across
the piazza toward the Duomo steps.
PAOLO (CONT’D)
Where are you going?
Francesco holds up a book of matches.
Paolo pauses a minute then runs to catch up with Francesco
and walks with him up the steps and into Duomo.
Genres:
["Drama","Historical"]
Ratings
Scene
37 -
A Dangerous Mission
EXT. STREET - DAY - MOVING
Evie and Bruno exit the conservatory walk down the pedestrian
street toward the Palazzo Hotel.
EVIE
Why didn’t you tell them earlier?
BRUNO
Tell them what? Oh. That.
EVIE
Yeah.
BRUNO
That night at the bar, if I’d lead
with the sexual nature of the
group, the conversation may have
ended right there. Couldn’t take
that chance.
(pause)
I didn’t hide information. I just
issued it in order of importance.
First: “These people are going to
be exterminated”. Second: “These
people need help getting out of
Europe”. Then: “I believe we here
in Italy have the ways and means to
help them”. And then: “They’re all
queer”. And finally: “The queers
will be here in Siena next week”.
EVIE
I hope all this it worth it for
you? Financially, I mean.
BRUNO
It was worth it. Financially. In
the beginning, I made a fortune.
People had to get out of Germany.
(MORE)
BRUNO (CONT’D)
They were leaving everything
behind. If I could get them out, I
could have what they were leaving
behind. They didn’t care who got
their left-behind treasures. Might
as well be me the guy who was
getting them out of the country.
Every couple of weekends I’d take
the train to Cologne and take care
of business. But it changed.
EVIE
What changed?
BRUNO
Everything changed. The German
government changed it. They started
moving the Jews and undesirables
into the ghettos. They moved the
jews and the Germans took
everything: jewels, art, furs,
watches, cash. Everything.
Especially cash. Then no one could
pay.
EVIE
But you’re still doing it.
BRUNO
I am.
EVIE
Jewish loot, artwork, cash,...
BRUNO
Gone. No more.
EVIE
And your fortune?
BRUNO
What do you think?
EVIE
I think you’ve been paying for the
escapes using the money you made
earlier.
BRUNO
Yep, I had a nice little fortune
amassed from their left behind
treasures. And. I think I knew all
along it wasn’t mine to keep.
(MORE)
BRUNO (CONT’D)
There was some weird destiny thing
going on with me. I started using
my ill-gotten fortune for the
refugees who no longer had their
fortune.
EVIE
All this going on in Germany while
you were teaching in Italy.
BRUNO
It’s the only thing that kept me
sane. But this is the last of the
last of my ill-gotten fortune. The
end. I had enough money for one
more giant refugee escape and this
is it. Enough money for about 50
refugees’ passage from Naples to
North Africa and a down payment on
passage on to America and England.
But the plan was going nowhere
because I didn’t have phony
paperwork for that many
refugees...but now, now thanks to
Siena and Vivaldi...you, Antonella,
Francesco...
(smiles, pause)
And. And, my brother Matthew will
be coming from Cologne to Andermatt
to meet us. My brother...and his
boyfriend, Rolf.
EVIE
OH, Why didn’t you tell me?
BRUNO
I just did. You know...information
in order of importance.
EVIE
Your brother might disagree on the
order. So I'll meet your brother
Matthew--
BRUNO
--Mattie--
EVIE
Mattie. You never mentioned him.
BRUNO
I’m doing that now. He’s a freshman
at Cologne University of Music.
EVIE
Why didn't he study at the Florence
Conservatory with you?
BRUNO
He’s going to be a great pianist
some day. He got a wonderful piano
performance scholarship at Cologne.
EVIE
Oh, good.
BRUNO
I encouraged him to take it.
EVIE
Sure.
BRUNO
(pause)
Because I thought having him in
Florence he might not be good for
my career. He’s very open about who
he is.
EVIE
Oh.
BRUNO
And Florence is not accepting
of...of...
EVIE
...of people like your brother...
BRUNO
Yes, ”people like my brother”. And
now Hitler wants to send people
like him to a concentration camp
because of...what? Because of who
he is?
EVIE
But you’re getting him out. He’ll
meet us in Andermatt, right?
BRUNO
Right. Right. I’ll see him in
Andermatt, bring him to Siena then
put him on the ship in Naples. Then
I can rest.
(smiles)
And then I’ll be broke again.
EVIE
(smiles back)
Like God intended all musicians to
be.
BRUNO
Exactly. The divine plan. Rolf--the
boyfriend--is a vocalist so while
he’s in Siena he might help with
the Vivaldi Chorus.
EVIE
Oh God, that would be divine.
Casella has made an arrangement of
the Gloria that’s not as good as he
Vivaldi original and Alessandro--
BRUNO
--does Alessandro know about any of
this?--
EVIE
No not a word. Anyway, Alessandro
has all but abandoned the Gloria
and put me in charge. But the
Vivaldi Gloria Choir is not shaping
up because there is not much there
to shape. There are like only 15 or
them and they are either 80 year
old members of the Duomo choir or
they’re aspiring divas from the
Chigiana vocal classes. It's more
terrible than you could imagine.
BRUNO
I can imagine terrible.
EVIE
Now double it.
I/E. GESTAPO HEADQUARTERS (COLOGNE) - NIGHT
Outside the Gestapo building, four Gestapo officers march a
small man dressed in civilian clothes through the dark street
into the street lights in front of the building. They
manhandle him through the building entrance and up the entry
stairs. They disappear into the building.
The camera maintains a stationary exterior view of the
building We can see through the windows and we hear shouts
from the officers and occasional screams from the prisoner as
he is drug through the halls.
Then the camera fast-forwards through the entrance, down the
stairs of the basement, through halls, into one of the
interrogation rooms. We see a man’s hand being held on a desk
top. He struggles violently to remove his hand as he shouts
“No” over and over. We see a meat-cleaver being held in the
air then see it quickly descend. The camera moves instantly
to the exterior, we hear the sound of the cleaver striking
the desk then one last scream from the prisoner.
I/E. GOTTHARD PASS (ITALY/SWITZERLAND) - DAY- MOVING
Late afternoon September 10, 1939, two weeks before the first
day of Siena’s Chigiana Vivaldi Festival. The two small buses
have passed the Swiss Italian border and now slowly work
their way through the Gotthard Pass curves. Paolo and Boian
are in one other empty bus and Bruno and Evie, in the lead,
are in the other. There is no traffic except for an
occasional horse drawn cart. Bruno shows down to a sops at a
roadside shrine, crosses himself then he speeds up again.
EVIE
Was that “thanks” for having made
it through the pass?
BRUNO
No. That was “mercy” for our next
stop. Just before we left Siena, I
got a message from Cologne that the
Nazis, as many as a dozen, have
taken over the Andermatt hotel in
order to guard and control the
Gotthard Pass. Apparently The
Bellevue Palace is now the Nazi
headquarters. Some of our refugees
arrived in Andermatt several days
ago so many of them are sharing
lodging with the enemy.
EVIE
Sleeping with the enemy.
BRUNO
Yeah, probably some of that too.
EVIE
So, let me get this straight: we
are going to walk into the German
headquarters in Switzerland and
extracting a busload of refugees
from under the nose of the Gestapo.
Bruno holds up two fingers
EVIE (CONT’D)
...two busloads of refugees.
BRUNO
Si.
EVIE
Is there a plan? I mean other than
the little roadside prayer back
there?
BRUNO
Mostly that little roadside prayer
was it. But...like any good
musician, we’ll improvise when we
get to the gig.
EVIE
Do Paolo and Boian know?
BRUNO
About improvising. I think so.
EVIE
About the Nazis.
BRUNO
I told them last night.
EVIE
OH. Why didn’t you tell me last
night?
BRUNO
Because I wanted to have this
conversation with you for 10
minutes while driving into town and
not for 10 hours while crossing the
alps.
EVIE
That makes sense. Any idea what
we’ll find when we get there?
They can see the hotel in the near distance and they hear the
faint sounds of singing. Evie lowers her window a bit..)
BRUNO
I'm not sure what it'll look like
but from here it sounds like a Cole
Porter musical.
EVIE
(pause, listens)
It is Cole Porter. That can’t be
bad. Right?
They park their bus near the Andermatt Bellevue Palace hotel
entrance. Bruno signals for Evie to wait in the bus as he
goes over to Paolo and Boian. They have a brief word or two
as Evie watches. Then the three men enter the Bellevue Palace
as Evie waits. Once they are inside she leaves the bus and
goes to peak in a hotel window.
Genres:
["Drama","Historical","War"]
Ratings
Scene
38 -
A Tenuous Farewell
INT. BELLEVUE PALACE HOTEL - DAY
The large lobby parlor is fill with young men in fine travel
dress. Some are seated and some are part of the ensemble that
has just enjoyed a big finish to “Anything Goes”.
German soldiers are seated among them. The situation appears
to be very buddy-buddy. A couple of the Germans are part of
the chorus; everyone—including the soldiers—is enjoying the
music. Music accompaniment: A German soldier at the piano, a
refugee on violin. There is burst of applause and Bruno,
Paolo, and Boian stand at the open door and Evie joins them.
The piano starts the intro to “I God Rhythm” and three Ethel
Mermans in drag make an entrance from the sweeping parlor
staircase as everyone applauds and cheers.
Bruno sees a familiar face in the “audience” and he makes his
way to him. The music is loud so we can’t hear their
conversation but it is obviously a distressful one. Finally,
Bruno buries his head in his hands and freezes there. Evie,
enters the lobby, makes her way to him. She addresses the
young man who has spoken to Bruno.
EVIE
Hi I’m Evie Foster. I’m here with
Bruno. You must be
Matthew...Mattie.
ROLF
I’m not Mattie. I’m Rolf, Mattie’s
friend. His boyfriend. Mattie is
not here.
EVIE
Oh...
ROLF
Two nights ago, we were getting
ready to leave for Switzerland,
they came to our apartment. They
took Mattie away. Didn’t say why
they were taking him.He didn’t come
back the next morning. And I didn’t
know what to do so I went ahead and
came here. I had no place to go.
EVIE
You did the right thing. Who. Who
took him away?
ROLF
The Cologne Gestapo.
Bruno is unable to speak. He puts his arms around Rolf then
walks over to the reception desk and slides the hotel manager
an envelop. The manager opens it, looks inside, closes it,
then gives Bruno a smile.
EXT ANDERMATT BELEVUE PALACE HOTEL - DAY
The two buses from the Florence Conservatory are parked
outside the Andermatt Bellevue Hotel. The refugees saunter
out with their suitcases and knapsacks and occasionally we
see one or two with musical instrument cases. Evie and Bruno
are standing at the entrance of their bus #1 welcoming their
riders. Evie turns to Bruno.
EVIE
What did you give that man at the
desk?
BRUNO
Money for the hotel bills and money
to keep quite.
EVIE
What did you tell the Gestapo
officers?
BRUNO
Stuck to the story: Said I was from
the Florence Conservatory, that
these were tourists coming to Siena
to attend the Vivaldi festival. I
showed them a couple of Festival
newspaper clipping and that was it.
EVIE
I didn’t think it was going to be
this easy.
BRUNO
We’re not there yet.
The last refugee gets on their bus, Evie enters her bus as
Bruno looks to bus #2 and watches it board. Then Bruno
motions to Paolo with a mock wipe-of-his-brow and a smile.
The buses close their doors, the engines start. A few of the
German soldiers stand outside the hotel and toast the buses
as they drive away. The refugees sing “Auld lang syne” in
German to acknowledge their toasts.
Genres:
["Drama","War","Historical"]
Ratings
Scene
39 -
A Song of Hope and Fear
EXT. GOTTHARD PASS - NIGHT
The bus meanders through the Gotthard Pass. Some of the
refugees who have brought their instruments play and a few of
the others casually sing along. We hear Mozart’s Laudate
Dominum as we the buses weave through the Alps.
When they reach Lake Como, Italian soldiers and police are
waiting for them. They step in front of the buses. The
busses stop. Bruno gets out and approaches the uniformed
personnel. Everyone else stays on the bus.
BRUNO
Is there a problem?
ITALIAN POLICEMAN
There is a problem. Have the
passengers get off the bus please.
BRUNO
But...
ITALIAN POLICEMAN
Off the bus!
The refugees, Evie, Paolo, and Boian file off the busses form
a tight group behind Bruno.
ITALIAN POLICEMAN (CONT’D)
You are crossing into Italy with
these people: Why?
BRUNO
They are tourists. The group is
attending the Vivaldi Festival in
Siena.
ITALIAN POLICEMAN
The what?
Bruno takes out his clippings and starts to show the officer.
He pushes the clippings away.
ITALIAN POLICEMAN (CONT’D)
The Gestapo informs there may be a
Germans refugees crossing into
Italy. Here are two buses and here
are Germans.
BRUNO
Well, yes. Germans coming to
Italy...from Germany...for a music
festival. Guest of the Music
Conservatory in Florence. They are
guests of Italy.
ITALIAN POLICEMAN
Busloads of German "tourists" are
not allowed to cross into Italy any
longer.
BRUNO
But...
EVIE
...but they aren’t tourists at all.
None of them...They are--
ITALIAN POLICEMAN
You are an American.
He turns to Bruno.
ITALIAN POLICEMAN (CONT’D)
And you, a German? Are there ANY
Italians in this group?
Paolo steps forward. The Italian Policeman addresses him.
ITALIAN POLICEMAN (CONT’D)
Who are these people?
PAOLO
What the American girl says. They
are--
EVIE
--They are the guest choir. For the
Festival. They are singing in the
Vivaldi Festival Choir.
(MORE)
EVIE (CONT’D)
Here's my ID. I’m in charge of the
choir. See. It says so right here.
ITALIAN POLICEMAN
Then sing.
EVIE
Me? Oh. Them.
The Officer shakes his head “yes” and Evie tries not to look
nervous as she looks at Bruno then Paolo then the others.
Then one of the refugees who has his violin with him holds it
up for Paolo to see and Paolo moves to take the violin then
looks the other refugees and ask...
PAOLO
Ah...Nabucco? Nabucco everyone?
Anyone?
Paolo nods ‘yes?’ and while some of them look confused most
nod ‘yes’. He starts with his violin then a guitar player
joins in and the voices, still warm-up from the singing in
Andermatt and singing in the bus through the passage sing “Va
pensiero” (mostly unison).
Soon the other Italian policemen can’t resists...they join in
and everyone is singing “Va pensiero”. As they sing to the
end of the piece, the policemen applaude then begin to shake
their hands as the refugees board the bus.
Evie is standing at the bus door and she appears to be
alarmed at what she sees in the darkness beyond the Italian
soldiers and policemen. Bruno notices the startled look on
her face.
BRUNO
What’s the matter? You should be
happy. We’re still alive and you
finally have a choir.
EVIE
Wait just a minute. OK?
Bruno mouths “OK”. Evie keeps her eye on something in the
distance and walks quickly to the group of Italians then
beyond them. Then she stands still and watches a black
Mercedes speed away. She returns to Bruno at the door of the
bus.
BRUNO
What was THAT about?
EVIE
I thought I saw someone I know.
BRUNO
Who do you know in Lake Como?
EVIE
No one.
BRUNO
Then...?
EVIE
...then I was mistaken. I hope I
was mistaken. And, yes. You are
right. I finally have a festival
choir. Gloria, Gloria!
Evie boards the bus then we fade to the refugees on the bus
moving on the highway again. But there is no singing. One by
one, we see headshots of them with the stark look of fear on
their faces. Eventually we see a road marker “Siena” and
again we see their distraught faces.
Genres:
["Drama","War","Historical"]
Ratings
Scene
40 -
Echoes of Trust
INT. CHIGIANA MUSIC CONSERVATORY CONCERT HALL - DAY
The Vivaldi Festival choir is rehearsing on stage. They are a
mix of very old Italians and plus 30 or so of the refugee
men. Evie is conducting, Antonella is at the rehearsal
organ/piano. They finished the first movement of the Gloria.
They sound great. At the end of the movement, the choir is
silent and still a beat or two, then the Italians stand and
burst into applause turning left and right to each of the
refugees as they smile and pat them on the back. The refugees
do the same. Then they all turn to Evie with their out
reached applause. She covers her face in mock embarrassment
and turns her back to the choir to face the concert hall. She
sees Alessandro through her fingers; he is standing in the
dark of the concert hall lobby entrance. Their eyes meet in
an electric moment. She has a flashback to the figure she saw
at Lake Como. She drops her hands and turns back to the choir
and graciously bows and bows and bows before speaking.
EVIE
You are wonderful. A ten minute
break. Wonderful, wonderful,
wonderful! Bellissimo! Bellissimo!
Ten minutes.
Alessandro walks toward the stage. The choir is dispersing;
Evie remains motionless. When he reaches them he hands them
envelopes.
ALESSASNDRO
Amazing work. You told me the
choral piece would be a Festival
failure but just the opposite, it
will be a favorite.
(he hands envelops to
Evie)
Festival pay for you and Antonella.
You’ve earned it. There are some
additional choir members, I see.
EVIE
It was you.
ALESSASNDRO
What? I said, there are some
additional choir members--
EVIE
It was you.
ALESSASNDRO
What? I don’t....
EVIE
At Como that night. It was you.
With the Fascists police. They
stopped our buses and you were with
them. I saw you there.
ALESSASNDRO
I...I--
EVIE
I SAW you and by the time I could
get to you, you had disappeared.
ALESSASNDRO
(long pause, looks deep
into Evie’s eyes then
lowers his voice to a
near whisper)
Yes. I was there that night. I was
there to make sure nothing happened
to you.
EVIE
How could you have known I was
there? When the Italians stopped us
in Como they said the Gestapo
phoned to warn them that German
refugees were entering the country,
that’s what they said. No one knew
I was there.
ALESSASNDRO
I live and work around a lot of
important people that I don’t
particularly like or agree with but
they are important and they are in
charge and I deal with them daily
to keep the orchestra up and
running. Sometimes I hear things
by accident. This was the case. I
was at a party on the Lake, there
was an alert about the Andermatt
buses headed for Siena and that an
American girl was with the group.
There aren’t that many American
girls that might be headed for
Siena.
(pause)
Look, I don’t know exactly what all
of this Andermatt bus thing is
about or how deeply you are
involved in...whatever this is--
EVIE
--this is about me getting
additional voices for the choir.
That’s all.
ALESSASNDRO
OK. OK, I’m glad to know that that
is all--
EVIE
Well, what else would it be?
ALESSASNDRO
(pause)
That’s it. Of course. You’re right.
The new voices make the Gloria
sound great. I’m proud. Your mother
would be proud. Be careful. I’ll be
there to help when you need me.
Remember that.
He takes her hands, gives it a kiss and walks away. She
watches him until he exits. The choir is reassembling.
Antonella walks to her side.
ANTONELLA
What was that about?
EVIE
I’m not sure.
ANTONELLA
Do you think he knows anything?
EVIE
I think he knows something.
ANTONELLA
Well, I wouldn’t be too worried if
I were you. After all he is your
father.
EVIE
My father of less than a month. He
knows nothing of my past, I know
nothing of his. He is friendly with
Ezra Pound, Miss Rudge, with
Maestro Casella, and the others.
ANTONELLA
So? You are friendly with Ezra,
Olga, and Casella and the others.
Well, maybe not Ezra. And Casella’s
wife is Jewish.
EVIE
I know, I know. It’s not simple is
it? But apparently he does go to
parties at Lake Como with German
Gestapo and Italian Fascists: that
we do know...now. Anyway. It will
be interesting to see how much he
helps in the future.
Antonella opens the envelop with their pay.
ANTONELLA
Well, this is interesting, it’s our
check plus a personal bonus from
Alessandro.
EVIE
(broad smile)
I feel his help already.
Evie gives Antonella a kiss on the cheek then turns to
address the choir.
EVIE (CONT’D)
“Laudamus te”.
Counter-Tenor #1 and #2, music in hand, move to face the
choir.
COUNTER-TENOR #1
We’re sight reading this. Just so
you know.
COUNTER-TENOR #2
Evie, are you sure this is a good
idea? I mean, it looks like the
Vivaldi guy wrote this 2 sopranos.
EVIE
I heard your Ethel Merman in
Andermatt hotel. These Italians
have been listening to castrati
male sopranos sing for centuries.
Yes. It is a great idea because you
two are great. Antonella, Laudamus
te”.
Antonella begins the intro, the counter-tenors singer sing
the Sopranos’ “Laudamus te”. As they sing, cross fade to the
Etruscan caves beneath the hospital. As we hear the music of
Chigiana we see the Sienese forgers at work. We see refugees
being fingerprinted and photographed as the camera wonders
through the various caves.
Genres:
["Drama","Musical"]
Ratings
Scene
41 -
The Clandestine Plan
EXT. STREET - DAY - MOVING
After rehearsal Rolf and Tobias, another singing refugee, are
met at in the street near the Chigiana entrance by Bruno and
Paolo. They escort them in the direction of Piazza del Duomo.
They are speaking urgently to Rolf and Tobias until they
reach the Piazza. They stop.
ROLF
Can’t you go in with us?
BRUNO
Too risky. We're there too often as
it is. The plan; the password?
ROLF
Got it. Once inside we turn right
go to the end of the long hall
where we’ll see a hospital guard
named Boian. And I say “can you
help me I’m looking for the
tuberculous ward?” And he will
say...
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
The Secret Passage
INT. SMS HOSPITAL - DAY
BOIAN
--there is no tuberculous word at
this hospital.
ROLF
But I was told there was such a
ward.
BOIAN
Boian holds his index finger to his lips “shhhhhh” and gives
them a nod, motions to follow him.
He leads them through a narrow hall, unlocks a door to a
large storage room, he gets on his hands and knees, announces
into the fresh air tube.
BOIAN (CONT’D)
Two guests are looking for the
tuberculous ward.
Boian remains motionless until he hears two strikes on the
metal tube. Boian opens the trap door and motions for them to
descend the latter.
Genres:
["Drama","Thriller"]
Ratings
Scene
43 -
New Identities in the Shadows
INT. SMS HOSPITAL CAVES A FEW MINUTES LATER
In the cave, at the ladder’s end, Nehemiah Aresburg is
waiting.
NEHEMIAH
Welcome. We are here to help you.
Rolf’s friend, Tobias breaks down and sobs
ROLF
Hello, I’m Rolf Müller and my weepy
friend here is Tobias Kraus.
Icilio has walked up with a clipboard full of papers.
ICILIO
Welcome. And you, you are no longer
him, Rolf. You are now, and forever
more will be, at least until you
get to your new home, you are Jim
Smith.
Icilio points to Tobias but he still can’t answer
ROLF
He’s Tobias Kraus.
ICILIO
Who is now Tom Blackstone.
TOBIAS
Tom? Not Tom.
(Rolf gives Tobias a look)
OK. OK. Tom it is.
NEHEMIAH
Follow me. We have several stations
set up for you. Passports, travel
documents, signatures, photos, all
to be done today because we don’t
want draw attention to the
workshop. When you leave our
clandestine little laboratory
today you should have all the
documentation you will need.
Questions?
ROLF
So on the day we sing the
Vivaldi...what exactly happens? I
mean how do we get to Naples?
NEHEMIAH
One of the gentlemen or ladies you
meet today will be your driver.
After the Festival Gloria you will
leave the concert, go to the home
in Siena where you have been
staying, pick up you luggage, and
walk here to the piazza del Duomo
between the hospital and Duomo.
There will be cars near the Duomo
steps. You will recognize your
driver who will be standing beside
their car, there will be several
refugees persons in your designated
car. The refugees who are not
singers will have left just before
the concert started.
ROLF
I’m concerned about money. How do
we pay for passage from Naples.
NEHEMIAH
Not to worry.
ROLF
Not to worry?
NEHEMIAH
It's paid for.
ROLF
How? Who?
Nehemiah pauses then slowly looks around the connected cave-
lab fill with the forgers and their helpers.
ROLF (CONT’D)
You. For us?
Tobias cries again.
NEHEMIAH
Bruno sunk every cent he had into
getting you all out of the country
but it became apparent that his
bankroll wasn’t going to be enough
to get you out of Morocco. So we
pitched in. A little.
Nehemiah gestures to the workers who have been listening to
the conversation. They give a little toasting gesture with
their wine glasses. Again, Tobias breaks into tears. Nehemiah
gestures to move them to the first table of manuscripts.
NEHEMIAH (CONT’D)
Your passage is paid and soon
you’ll have your papers that will
see you out of Europe and perhaps
one day when all this craziness has
ended, Jim, Tom, you can return and
be Rolf and Tobias once again.
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
44 -
A Moment of Joy and Tension
INT. ROZZI CONCERT HALL - DAY
Back stage at the Rozzi Hall Evie and Antonella are with the
choir. Paolo and Bruno give Evie a kiss then they leave to
take their place in string section of the orchestra. Paolo’s
kiss is a little more passionate than Bruno’s. Both Antonella
and Evie are singing in the chorus along with the Aresburg
teenagers, Zita and Niccolo. They process out to the stage
with the group. Conductor Alfred Casella is conducting and
after the chorus arrives on stage, he motions for Evie to
step forward and he applauds her as the choir mistress and
motions to the audience to do the same. Evie spots Alessandro
at the back of the concert hall. She acknowledges him with a
big smile and he responds by throwing a big kiss. She laughs
out loud before catching herself.
The Gloria 1st movement begins and Evie is focused on
conductor Casella. Evie then looks toward the back of the
hall to see Alessandro, who has just been tapped on the
shoulder by a German in uniform. Alessandro turns then
quickly disappears from the hall as Evie watches. Alessandro
along with several Germans leave the concert hall Note: The
Gloria becomes the ongoing soundtrack for the remainder of
the next scene.
Genres:
["Drama","Musical"]
Ratings
Scene
45 -
Betrayal in the Shadows
INT. SMS HOSPITAL - DAY
Alessandro and the German officer and two Italian soldiers
walk down the long hallway where Boian is standing guard.
GERMAN OFFICER
“Can you help me I’m looking for
the tuberculous ward?”
Boian, confused does not answer.
GERMAN OFFICER (CONT’D)
“Can you help me I’m looking for
the tuberculous ward?” I said:
“Can you help me I’m--
BOIAN
“There is no tuberculous ward at
this hospital”
GERMAN OFFICER
But I was told there was such a
ward.
Boian nods and leads them to the storage room. He starts to
open the trap door to the caves below when Alessandro takes
out a pistol and point is toward Boian
BOIAN
Maestro, I don’t under--
Alessandro shoots Boian three times in the chest. He falls
over the trap door. Alessandro moves Boian a bit more so his
whole weight is on the trap door. Alessandro moves over to
the cave’s fresh air pipe.
ALESSASNDRO
General, this is the exhaust pipe
the informant was talking about.
And these are the capsules that
arrived for you today.
Alessandro hands him three six inch metal capsules.
GERMAN OFFICER
We will soon incorporate these
magic pills into our programs at
the camps in Poland. I hope this
will be a productive test run.
Maestro, would you like to assist?
ALESSASNDRO
It would be an honor.
The officer breaks the seals on three round capsules and
Alessandro drops them down the air tube. Then he quickly
covers the tube with a rubber bag and tape. At first there
are no sounds, then we hear muffled voices below then muffled
screams. The trap door, with Boian laying across it, is being
forced open and so the other above place their feet on it.
After a few minutes there is silence below. (We can hear the
Gloria from the nearby Rozzi Concert Hall.) The German
officer motions for everyone—Alessandro and the two Italian
soldiers—to remain still as he stares at his watch for a
minute longer.
One of the Italian soldiers hands the general a slender pole
with an eye glass attached. The General extends the pole down
the air tube.
We see the bodies of Nehemiah, Rachael, Umberto, Icilio, and
the others and the horrific expressions on their faces. The
officer takes his eyes off the tube and motions for one of
the soldiers to look. Then the officer motions for Alessandro
to look. Then the General looks one more time.
GERMAN OFFICER
I can report that the new gas
tablets are a success. And I have
you all as witness.
ALESSASNDRO
Yes, of course. Congratulations.
With this report you will be an
important man, General. Shall we?
Alessandro motions for them to leave the area. The German
officer hesitates and points to Boian’s body.
ALESSASNDRO (CONT’D)
I’ll contact the hospital and have
the bodies removed later. Now, if
you’ll excuse me, I have a concert
to attend.
Genres:
["Drama","War","Thriller"]
Ratings
Scene
46 -
Urgent Farewells at the Rozzi Concert Hall
INT. ROZZI CONCERT HALL - DAY
Alessandro quickly resumes his place at the back of the Rozzi
Concert Hall for the end the Gloria. Both Evie and Antonella
notice his return and the two of them exchange puzzled looks.
As the Gloria finishes, the choir moves off stage. Twenty or
so refugee singers gather together and Evie and Antonella
quickly go to the group.
EVIE
OK. It’s that time. You know what
to do. Retrieve your bags then on
to the Duomo Piazza to find your
car driver remember it will be
Nehemiah, Rachael, Umberto, Icilio
and the others who did your
paperwork in the caves. They will
be there to take you to Naples. May
we meet again in happier times.
Two or three at a time kiss Evie and Antonella as they flee
from the Rozzi. Then the Italian choir members gather around
to congratulate Evie and Antonella. Antonella motions to Evie
in the clamor.
ANTONELLA
We have to go! Now!
Genres:
["Drama","Thriller"]
Ratings
Scene
47 -
The Escape at Piazza del Duomo
EXT. PIAZZA DEL DUOMO MINUTES - DAY
Refugees with their small a bags in hand moving through the
festival crowded streets making their way to the Duomo
Piazza. We see the line of cars neatly parked in front of the
Duomo sidesteps but we don’t see the drivers. We are aware
that the last time we saw the purposed drivers Nehemiah,
Rachael, Umberto, Icilio, and the others were lying on the
floor of the SMS Hospital dirt cave floors.
But as the refugees near the Piazza, we do see the
drivers—Nehemiah, Rachael, Umberto, Icilio, and the
others—each set up in the car seat, get out, open the back
doors as the first to arrive get into their escape car. The
cars have their license plates covered.
From each of the three streets that lead into the Duomo
Piazza, we hear, then see, three German Army trucks speed to
then stop near the line of escape cars. German and Italian
soldiers, along with the German Officer and two soldiers who
accompanied Alessandro to the hospital, jump from the backs
of the trucks. But as the soldiers pull their weapons and air
at the refugees, we see them quickly falling to the ground
one by one as we hear shots in the distance.
The German and Italian officers fall, the tourists flee the
scene, the Italian escape cars loaded with refugees speed
away in different directions. Fifteen or so German/Italian
soldiers and officers lay dead and dying bleeding on the
cobble stones including the German officer and the two
Italian soldiers who were at the SMS Hospital earlier.
All is quiet. Then a pan shot shows the top of the “new”
Duomo ruins (today’s Duomo lookout vista) six persons with
bandana covered faces holding rifles. They quickly descend
the stairs and give their rifles to waiting helpers and they
leave. And as they leave, they tear off their bandanas. In
quick secession, we see Bruno, Paolo, Francesco, Antonella,
Evie...then Alessandro. They escape down the Baptistry stairs
and into the Baptistry where priest robes are waiting for
them. They robe up and kneel at the altar. Then, one by one
they exit into the street.
The Piazza is deserted except for the fifteen dead/dying
soldiers. The bells in the Duomo tower ring as we pull back
and fade to black. Doctors and nurses from the SMS Hospital
rush out to tend to the wounded soldier.
Genres:
["Drama","War","Thriller"]
Ratings
Scene
48 -
A Toast to Secrets and Shadows
EXT. AL MANGIA OUTSIDE BAR - NIGHT
Several weeks later, seated at joined tables are Bruno,
Paolo, Francesco, Antonella, Evie, Boian, and Alessandro.
PAOLO
So, Francesco, apparently it’s
alright for us to be all seen
together...again?
FRANCESCO
It is. Half of Siena knows about
this but...but it’s the right half.
We are safe. They’ll never tell.
EVIE
What makes you think that.
FRANCESCO
For twenty years Siena was the
forgery capital of the word and no
one knew because...because the
Sienese value keeping a secrete.
We’re safe.
PAOLO
Alessandro, how exactly did that
all work at the hospital the day of
the Festival escape?
ALESSASNDRO
You mean with Boian and the forgers
in the caves? It was just like we’d
planned I’m happy to say. Right out
of a textbook. I received word that
the Germans were on to something
involving the Germans from the
Andermatt group. I offered to help
them — the Germans — it was the
only way I could keep your refugee
escape plan moving forward. So, I
agreed to take the German Officer
to the scene of the crime. When we
were there, I fired blanks at Boian
who “died”. Beautifully, I might
add. I had three fake gas
tablets—that were actually
Umberto’s used snuff tins—but they
were supposedly experimental so no
one knew what they were supposed to
look like. So, anyway, Nehemiah,
Rachael, Umberto, Icilio, and the
others were ready and on cue
attempted to escape the fake gas
then played dead while the German
surveyed the carnage through the
telescope looking glass. When we
left the hospital, Boian came to
life and opened the trap door.
Later, the German Officer returned
to the scene of the crime to show
his officers the carnage and
discovered that apparently he’d
been had. Apparently, he called for
reinforcements to come to the Duomo
piazza. Luckily, we had planned to
be snipers in case anything went
wrong...which it did. But not for
long. The shootout ensued and the
rest is history. So a toast: A
historic end of a little group with
a big mission, a big caper, a big
heart.
EVIE
A toast to Italian history...which
we are now a part of.
FRANCESCO
May it remain a secrete. And may we
never do this again.
ALL
Hear, Hear, Never, ever. I’ll drink
to that....
They drink, enjoying the moment.
Umberto and Icilio walk up to their table. Every one at the
table greets them. Umberto and Icilio remain standing. When
the greetings die down Umberto tosses a newspaper onto their
tabletop. Headlines: “Hitler invades Poland the WAR Begins”.
They stare at the headline then stare at Umberto and Icilio
then at the headline again then at each other.
ALL (CONT’D)
No, no, no. We’ve done our part.
We’re not getting involved again.
We Are done. No more of this.
Umberto and Icilio turns to walk away but stops. Everyone is
silent. Then Umberto looks back over his shoulder to the
group and gives them a smile. The group is motionless and
silent. Evie mouths to the others under her breath.
EVIE
Well, we are pretty good at this,
you know.
FRANCESCO
We were pretty good. Were: past
tense. And we were lucky, and we
don’t have a plan to continue this
kind of help even if we wanted to.
Umberto and Icilio start to walk away. Umberto speaks over
his shoulder to them.
UMBERTO
You didn't have a plan the last
time.
The group remains motionless at the table in a moment of
reflection. Then Evie raises her glass then one by one the
others raise their glasses and Evie calls out:
EVIE
Pieluigi, more red.
Long, slow pull back shows Siena Il Campo town square at
night.
FADE OUT.
THE END