LISZT & CHOPIN IN PARIS

Written by

John Mark

Based on Actual Events

Tel. (941) 276-1474 e-mail:[email protected] FIRST/2 /201DRAFT 03 7 6 LISZT & CHOPIN IN PARIS

1 EXT. ISOLA BELLA. LAKE MAGGIORE - DAY 1 Three shadowy silhouettes in a small boat dip their oars into glassy surface of the lake heading towards the island. REPORTER and his ASSISTANT step on the ground, as the sun sets on the baroque garden in front of large castle. REPORTER (knocking loud on the front door) Hello.... Anyone there? BUTLER opens the door the reporter flashes his card. REPORTER (CONT’D) Good evening! I’m from Le Figaro and we came to see Mister Rachmaninoff. Butler closes the door half way. BUTLER He’s not here Sir. You just missed them. REPORTER Do you know where they are? BUTLER Yes. They’re leaving Europe. CUT TO

2 EXT. HÔTEL RITZ-PARIS - DAY 2 A crowd of PAPARAZZI floods vintage, four-door M-335 cabriolet as it comes to STOP. SERGEI RACHMANINOFF (65) and his wife NATALIA SATINA (62) exit the car and walk to the front door in the attempt to leave the flashing photographers behind them. TITLES ROLL: PARIS 1939.

PAPARAZZO #1 (following them to the door) Welcome to the Ritz Monsieur Rachmaninoff. 2.

PAPARAZZO #2 We heard you’re leaving Europe. CAMERA MOVES ALONG as CROWD in the lobby intensifies and paparazzi flash their cameras. As the composer and his wife pass through the door, the throng of paparazzi gets narrower while they keep snapping pictures following them to the elevator. ANGLE INSIDE as Rachmmaninoff and Natalia look at one another in silence. DOORMAN takes them to their suite. ANGLE ON REPORTER rushing to the elevator.

3 INT. HÔTEL RITZ. THE IMPERIAL SUITE - DAY 3 Crystal chandeliers hanging off twenty foot ceilings, red and gold upholstery, Baroque mirrors and tall windows overlooking Place Vendôme. Rachmaninoff, in his robe sits at BÖSENDORFER CONCERT GRAND, reading music. Door bell RINGS. RACHMANINOFF Entrez! REPORTER flashes his press pass and enters the room. REPORTER Bonjour. RACHMANINOFF (nonchalant) Are you from Le Figaro? REPORTER (smiles) Oui, Monsieur. (hands him his card) The city of Paris and all of France are honored to host the greatest pianist of our time. RACHMANINOFF (smiles) Bonjour! What would you like me to do? He gestures the reporter to sit down, and plays the opening passages from Chopin’s Barcarolle Op. 60. The piano SOUNDS very dramatic, deep, beautiful, disturbing. 3.

REPORTER (sitting down) We learned that you could be recording Franz Liszt’s famous Hexameron composition for Victor company before your departure for America. RACHMANINOFF (keeps playing) I’m not sure yet, but why are you interested in Hexameron? REPORTER Hexameron composition is a mystery. It’s so rarely performed, and to hear it described by you for our paper will be a great honor. RACHMANINOFF (glances at his watch) You cannot tell the story of Hexameron without telling the story of Franz Liszt. How much time do you have? REPORTER I have all the time in the world Sir. As Natalie enters the room, Rachmaninoff plays more chords. RACHMANINOFF All right... (lighting up a cigarette) This is the story of Hexameron. Understand, I’m only carrying a torch. You want a great story, then listen. He puts out the cigarette and strikes few opening passages from Liszt’s Hexameron. RACHMANINOFF (CONT’D) This is where this amazing music comes from. It’s the story of Paris, but it’s more than that. Much more than that... 4.

4 EXT. PARIS. MONTMARTRE - DAY 4 CAMERA MOVES to cobblestoned streets of Montmartre as FREDERIC CHOPIN, (21) steps out of the carriage and firmly puts down his suitcase on the sidewalk. RACHMANINOFF (V.O.) The year is 1831 and a young musician looking for ways to break new grounds in music arrives in Paris. He not only stays with the classical rules, but by doing it so stringently and perfectly and with such devotion he becomes the most original and powerful composer since Mozart. Chopin lets out a YOUNG LADY, picks up his suitcase and re- enters the cabin. The carriage moves on. BEETHOVEN’s ALLEGRO from SYMPHONY NO. 5 in C-minor enters SOUNDTRACK. TITLES CONTINUE TO ROLL. ANGLE on the carriage rolling through the hills of Montmartre. MUSIC PLAYS. BEETHOVEN’S ALLEGRO is in FULL BLAST. CUT TO: CU of Chopin anxiously examining Parisian boulevards, the crowds, the shopkeepers, the onlookers, obviously seeing it all the first time with great amount excitement. RACHMANINOFF V.O. The true musical career of Franz Liszt begins in fact with the arrival of Chopin. Liszt was already a celebrity in Paris and completely in command of his career, but when Chopin came everything has changed. REPORTER (raising his eyes from notes) Everything? RACHMANINOFF For both of them. CUT TO: 5.

5 EXT. PARIS. RUE DE MONTHOLON – DAY 5 Bustle of nineteenth century street life. FRANZ LISZT, (20) strikingly handsome with hair falling down his shoulders, highly charismatic walks with ADELE DE LAPRUNAREDE, (18) very beautiful, and his mother ANNA LISZT,(50). They cross a tree-lined Parisian boulevard and enter the front door of an apartment. ANNA (with a bag of groceries) Franz... Hurry up! Help me carry these upstairs. Franz grabs the bag and chases Adele playfully along the stairs. ANNA (CONT’D) (annoyed, gasping for air) Stop this... Cut it out now!

6 INT. LISZT APARTMENT – DAY 6 Franz unpacks grocery bags and continues teasing Adele who giggling throws dried piece of fruit at him. ADELE (laughing) I can imagine you with glasses, perky nose, and very pale face while you’re practicing. Liszt laughs and embraces her. LISZT (realizes something) Oh, no... ADELE What? They look at each other. ADELE & LISZT (ensemble) Alkan!

He sprints to his bedroom, grabs his clothes, his shoulder strapped bag, his pocket watch and storms out of the house. 6.

7 EXT. PARIS BOULEVARD – DAY 7 Taking side streets, Liszt runs down the long stairways. On the Boulevard he knocks down a small fruit stand as STREET VENDOR throws up his hands in desperation. Pulsating SOUNDS of piano MUSIC from Alkan’s Chemin de Fer enter SOUNDTRACK as Liszt passes street vendors in great hurry.

8 INT. PARIS CONSERVATORY - DAY 8 Liszt is at the rehearsal being conducted like a military operation. PRESS SECRETARY confers with STAGE MANAGER and attending STAFF all watching every muscle on his body as he moves backstage. Music critics, FRANCOIS-JOSEPH FETIS (47) and LUDWIG RELLSTAB (32) are taking notes. TECHNICIANS rush to barricaded areas filled by CROWDS to keep them away from stage. Liszt crosses the stage and takes a seat in the auditorium in of front of Fetis and Rellstab. FETIS (with controlled excitement) That’s Liszt... Franz Liszt! Rellstab does not answer, scribing with obvious haste. At the piano, center-stage sits CHARLES-VALENTIN ALKAN (18) enigmatic figure, with long hair surrounded by CROWD of admirers. RELLSTAB (nonchalant) Alkan has always been Paris favorite. He’s been at this Conservatory since age of six and developed tremendously. But having said that I honestly don’t think he can stand up to Liszt. No one can... CAMERA CUTS to Liszt sprinting up the stairs. GASPS of admiration erupt among FANS as Liszt enters the stage.

Upon seeing Liszt Alkan stops playing and the relatively settled atmosphere turns to PANDEMONIUM. 7.

Fetis and Rellstab take notes while several CARTOONISTS feverishly render drawings of Liszt. Chaos and commotion are mixed with anticipated excitement. STAGE ASSISTANTS rush to stage as CROWDS press against the door held by SECURITY. CUT TO BACKSTAGE with Chopin, somewhat shy and unassuming observes Liszt getting ready to rehearse. LISZT (interrupts playing) Who is this person here? STAGE ASSISTANT It’s Chopin, Maestro. LISZT Who’s that? STAGE ASSISTANT Experts say he’s about to replace Mozart. LISZT Hmm... Interesting. And how would YOU know that? (turns to Chopin) Can you play? CHOPIN (coyly) Yes... I can play. Liszt gets up abruptly from the piano. LISZT Sit down then and play. Chopin plays. A wall of magical harmonies with avalanche of sounds and nuances emerge from the piano. The piano sings complying with every wish of its master. Liszt is thinking. LISZT (CONT’D) Score! Give me the score! Score please... Does anyone have the score? I wish to see the score! STAGE ASSISTANT hands over handwritten sheet music to Liszt who looks it at briefly. 8.

LISZT (CONT’D) (at the piano) I don’t think there’s anyone who could do this prima vista. He repeatedly strikes the chords having difficulty getting it right. ANGLE ON Chopin observing Liszt, this time with more self confidence. Liszt suddenly gets up and leaves the rehearsal taking Chopin’s written score with him.

9 EXT. PARIS CONSERVATORY – DAY 9 A carriage waits outside the Conservatory as Chopin runs down the staircase. COACHMAN holds the door for him as he rushes inside.

10 INT. CARRIAGE - DAY 10 COUNTESS DELFINE POTOCKA, (24) stunningly beautiful waits inside the carriage. CHOPIN (elated) I did it... I played for Liszt! DELFINE Excellent! CHOPIN (thinking) Liszt is going to destroy me. In a matter of months I’ll be finished here.

11 INT. LISZT’S RESIDENCE. RUE DE MONTHOLON – DAY 11 Liszt paces back-and-forth in front of Adele concerned about what he just heard. LISZT In a matter of weeks I’ll be finished here. I thought I had Paris all to myself and now this... Chopin shows up and makes it all impossible for me. (he shows her the score) (MORE) 9. LISZT (CONT'D) I will fight! I will work so hard, even if I have to sell my soul to Devil I’ll do it, but I won’t let him conquer me. ADELE Why are you so worried? I have never seen you excited like this. LISZT Why am I so worried? Did you hear him play? No one plays like that. He knows this music better than anyone else. He has music inside him, he is the music, he is the pianist, he can teach all of us how to play. ADELE But how is it possible? How is his music better than yours? How can this be? LISZT How? It’s good enough for me to become clergyman, that’s how, and be anything but a pianist. (pauses) There’s nothing for me to do here, but leave Paris now. ADELE (thinking) Don’t leave me now. What about Alkan, Czerny, Halle, Kalbrenner. They’re nothing compared to him? (pause) And aren’t you better than all of them? LISZT They’re nothing compared to him. Don’t you understand? He plays a few Chopin chords for her. LISZT (CONT’D) This is Chopin. It’s ages ahead, ages, do you understand, ages of what anyone can conceive today. Listen he how resolves these chords.

He plays a few chords. 10.

LISZT (CONT’D) Listen... Can you hear this? He follows with a few jazzy chords from Sonata No. 2 in B- flat Op. 35 (Presto). LISZT (CONT’D) Listen! No one plays like that. He strikes more chords, this time sounding more jazzy. LISZT (CONT’D) And then, listen to this... He plays a fragment from Chopin’s Etude No.7 Op.25. Liszt glances at the score again and throws it up in frustration. He then picks up scattered pages and thrusts them in Adele’s hands. LISZT (CONT’D) Keep it... and my brain in safekeeping before he owns it.

12 INT. PARIS CONSERVATORY - DAY 12 TITLES OVER: DECEMBER 09,1832. HECTOR BERLIOZ (29) is preparing to conduct his SYMPHONY FANTASTIQUE. CAMERA MOVES to Liszt, sensational looking, vainly glancing at the orchestra pit and enjoying moments of anonymity. It seems as if the entire Paris is present, but for now we are only seeing faces mingled with their reflections in instruments glittering under enormous, crystal chandeliers. In the second row sits HARRIET SMITHSON (32) red hair, beautiful next to GIOACHINO ROSSINI (40) and RICHARD WAGNER, (19). Among them are Chopin and Delfine. Berlioz steps on the stage among the noise of tuning orchestra, and takes his place near large kettledrum in the center. As he raises his hands, sweet seductive sounds of SECOND MOVEMENT - UN BAL fill the auditorium.

CAMERA MOVES between Berlioz and Harriet, and then makes sweeping turns focusing on LUIGI CHERUBINI, (72) HEINRICH HEINE, (35) CAMILLE PLEYEL, (44) EUGENE DELACROIX, (34) FELIX MENDELSSOHN, (23 ) GEORGE SAND, (28) VICTOR HUGO, (30) IGNAZ MOSCHELES, (38) SIGISMOND THALBERG, (20 ) and NICOLO PAGANINI (50). 11.

ANGLE ON Liszt as he makes his way through the crowd. Adele is waiting for him at the box. ADELE Where were you? LISZT (nonchalant) You cannot even leave your carriage without either being run over, or chased after. ADELE (kissing him) Chopin’s here... LISZT I know... So is Liszt. MUSIC continues as Berlioz stands on the podium conducting with great skill. LISZT (CONT’D) (listening) Berlioz is the true virtuoso of orchestra. Instruments never sounded this great before, and I don’t think they’ll ever sound better after him. BACKSTAGE during INTERMISSION as Berlioz walks over to CRITICS and FELLOW MUSICIANS gathered around him. Mendelssohn and GIACOMO MEYERBEER (41) take turns congratulating him. Fetis pushes his way through crowd shaking his hands. Berlioz looks bewildered. FETIS Enorme Monsieur Berlioz, simplement énorme! MEYERBEER (shaking his hands) The wonderful Mister Berlioz... How are you my friend? As our friend says - enormous work. That's right! Enormous... My admiration for winning Grand Prix de Rome.

Berlioz is in tears as they shake hands. As more people congratulate him he breaks down sobbing. 12.

BERLIOZ (muttering) I must speak to her... LISZT To whom? BERLIOZ My Henrietta. LISZT But you don’t even know her. BERLIOZ I realize that. It’s what’s driving me insane. I must see her. I must talk to her. MENDELSSOHN (overhearing the remark) Monsieur Berlioz... If all women you know received so much attention as you are willing to give to this theater actress, all mystery would be taken out of romance. Berlioz returns to the podium as CAMERA MOVES to the audience getting ready for Berlioz’s THIRD MOVEMENT - “Scene in the Countryside”. ANGLE ON Berlioz darting glances at Harriet Smithson.

13 INT. BERLIOZ RESIDENCE - NIGHT 13 Small gathering of friends as Berlioz greets arriving guests in the drawing room. ROBERT SCHUMANN, (21) stands near the piano. Next to him either sitting or standing are HENRI HERZ, (18) ADOLF VON HENSELT, (17) JOHANN PIXIS (44), JOHANN HUMMEL, (54) and CARL CZERNY (41). Wagner, Liszt, Chopin and Delfine are also present. CAMERA MOVES to COUNTESS MARIE-CATHERINE FLAVIGNY, (26) stunning looking as she enters the room with her husband COUNT CHARLES D'AGOULT, (42). ANGLE ON Liszt who notices the Countess immediately. 13.

SCHUMANN Turn up the wick, please. We can’t see. As Liszt sits at the piano SERVANT accidentally turns the lamp down plunging the room in darkness. Cries of protests from AUDIENCE as Liszt ignores them and begins to play second movement of Beethoven's Sonata Pathetique. The fireplace casts eerie shadows as rich, romantic SOUND of Liszt’s playing has deep effect on the guests. ANGLE ON Chopin with Delfine and Mendelssohn. BERLIOZ Wouldn’t it be great to know who among us will be the successor to Beethoven? Who will inherit his fame? Who’s going to be his heir? WAGNER Maestro... You are! BERLIOZ It cannot be. Why did you say that? (pause) Listen! This is the true work of a genius. It would be hard to imagine greater piano work than that. He walks off to his study. ANGLE ON Schumann who sits at the piano and introduces his composition. SCHUMANN Meine dammen und herren. It’s an honor to dedicate my new piano work to Monsieur Frederic Chopin. It’s called Kreisleriana. The house is in darkness creating a feeling of intimacy and excitement as powerful arpeggios of Schumann’s Kreisleriana fill the room.

PAULINE GARCIA-VIARDOT, (22) very beautiful takes center stage and sings an aria from Rossini with cellist AUGUST FRANCHOMME (24) accompanying her. 14.

Chopin then finishes with a contrapuntal coda from his Ballade No. 4 in F-minor Op. 52. No one seems to be able to find the candle and they seem to have forgotten about it. It’s a full moon and the sky is dark- blue casting millions of stars. ANGLE ON Liszt dropping several logs into the fireplace spluttering and creating more shadows on the wall. O.S. GUN SHOT!!! PANIC. SCREAMS EVERYWHERE. ANGLE ON Berlioz as he runs out of the house with a gun in his hand. Mendelssohn and Liszt thinking he is trying to kill himself run after him. In pitch darkness the CROWD gathers outside holding torches to light the roadway. Chopin follows after Liszt and Mendelssohn accompanied by Schumann.

14 EXT. CHAMPS DE MARS - NIGHT 14 CAMERA MOVES BACK to Berlioz wondering in darkness appearing to have lost his mind. BERLIOZ (absent minded) Harriet! My love... Where are you? ANGLE ON Chopin, Schumann and Mendelssohn combing the bushes of the park with torches in their hands working in all directions. LISZT Berlioz always has to have his target, his idée fixe, or he can’t function. CHOPIN Don’t we all... CUT TO

Berlioz shadowy figure appearing at the lake. CHOPIN (CONT’D) There he is, right there. 15.

Berlioz collapses and is carried under the arms by Liszt and Schumann.

15 INT. BERLIOZ RESIDENCE - NIGHT 15 BACK TO Berlioz residence as Delfine, Schumann and Liszt put Berlioz to bed. LOUD APPLAUSE from the crowd as the drawing room is now fully lit. CUT TO Liszt visibly attracted by the sight of Countess Marie- Catherine who follows Liszt’s every movement. Chopin walks over to Liszt with Delfine. CHOPIN Franz, if you permit me, my friend Delfine. She can sing Bellini as good as Malibran. LISZT (turns to Delfine and Marie-Catherine d’Agoult with her husband standing nearby) I must apologize for my absent- mindedness, but Berlioz is beyond help. He already wants to marry someone he has never met. CHOPIN I wonder if this is worse from not being able to marry someone I’ve known half of my life. LISZT I’d rather meet someone that I’d never have to marry. Why spoil good thing with marriage. Marie-Catherine’s eyes sparkle like diamonds. COUNT D’AGOULT Monsieur... My wife, Countess Marie d’Agoult.

Liszt nods with courtesy. LISZT (without a beat) Monsieur d’Agoult. (MORE) 16. LISZT (CONT'D) I would like to ask you if you permit your wife to accompany us to a concert tonight. COUNT D’AGOULT But of course. I don’t keep curfew on my wife. A concert tonight? At this hour? Where? LISZT & CHOPIN (ensemble) Casino Paganini. COUNT D’AGOULT No. Thank you. I was planning to retire early.

16 INT. PARIS BOULEVARD - NIGHT 16 The carriage is racing through the streets of Paris. Liszt is facing Marie d’Agoult alone. They both try to control mutual attraction for one another. CUT TO: Chopin’s carriage with Delfine. DELFINE Do you think Liszt will be there? CHOPIN Why shouldn’t he? He already gave his soul to Beelzebub. DELFINE (cheerfully) You’re not serious, are you? CHOPIN Of course, I’m not. I don’t even know Liszt that well. (pause) Paganini is a god of violin. I’ve seen him play once and I’ll never forget the experience.

17 EXT. RUE DE LA CHAUSSE D’ANTIN - NIGHT 17 The hub of Parisian nightlife. Endless string of nightclubs and casinos, streets jammed with carriages moving in both directions. 17.

Chopin’s carriage moves up slowly in traffic and stops by nightclub: CIRCLE DES ÉTRANGERS. It passes by PALAIS ROYAL and FRASCATTI's and finally comes to stop before small, obscure sign: CASINO PAGANINI.

18 INT. CASINO PAGANINI - NIGHT 18 Nicolo Paganini is counting the receipts at the doorway. The crowd is already so dense that it is impossible to move. ACHILLINO, (12) Paganini’s son gives out admission slips and drops the money into by the door. a huge stockpile CAMERA MOVES TO Liszt and Marie-Catherine as they wiggle through the crowds. They spot Delfine and Chopin at the door. LISZT (shouting) Hurry up! They’re going to shut the door. Excitement increases as Chopin and Delfine make their way to the gaming room. ANGLE ON GYPSY BAND MUSIC IN FULL BLAST. CAMERA MOVES to the table with Liszt and Marie-Catherine. LISZT (CONT’D) The show won’t start until Maestro counts the receipts and the money and shuts the door. PAGANINI FAN #1 (in Italian) Paganini fara sentire il suo violino. GYPSY MUSIC intensifies with percussion, congas, castanets and guitars. BELLY DANCERS enter stage. Beer and alcohol is poured as MORE GUESTS arrive in smoke- filled room crowding near gaming tables.

AUDIENCE is teeming with excitement. LISZT There are two traits of Paganini’s art. (MORE) 18. LISZT (CONT'D) One is the purity and precision of his grip, especially with double and triple chords... (beat) The other is the staccato that he executes with outmost precision and amazing speed. (taking a sip of wine) Then the precision of his bow that he always drops on the strings at a perfect angle. His speed and precision are unbelievable. This technique alone can take violinist a lifetime to learn. CUT TO Marie-Catherine, Delfine and Chopin are listening with great interest. LISZT (CONT’D) His vibrato is like human voice. He never ends the thrill, and yet his thrills continue to sound as if he played them echoing in your head. His fingering is completely different from anyone and his tone is deep, penetrating, pure and beautiful. PULL FOCUS ON Marie-Catherine Chopin and Delfine with gamblers placing bets in the b.g. It’s LOUD. MARIE-CATHERINE Is this the secret to his playing? CUT TO Paganini standing over their table holding enormous Amati violin, his lumpy, long hair wilting way down his waist. PAGANINI (smiles) Ognuno ha i suoi segreti... Everyone has his secrets Madam. Paganini recognizes Liszt and bows in Liszt’s and Marie- Catherine’s direction.

PAGANINI (CONT’D) If you permit me now, I must go... He makes his way to the stage. Lights are dimmed. GYPSY BAND STOPS playing. 19.

LISZT (excited) Let’s switch tables to get closer to the stage. Liszt and Chopin find separate seats at tables near the stage leaving Delfine and Marie-Catherine behind. Paganini center-stage is poised with his back to CAMERA tuning his violin. He starts with an improvised coda to Merveille he performs it like a streak of lighting, changing his tones from deep adagio to unthinkable high notes. AUDIENCE is spellbound as he makes his violin sound as if weeping, in pain, crying then at once exploding with blasting energy and flawless showmanship where every element blends into spontaneous act of creation and music making. CAMERA MOVES back and forth between Liszt and Chopin, watching their reactions, listening, thinking. Paganini stops playing, nods to Liszt and begins to improvise on Liszt’s Hungarian Rhapsody No. 3. The CROWD goes wild. Paganini bows and pauses to take questions from the audience. PAGANINI FAN #2 (yelling) Paganini... Tell us the truth. Is it true that you learned to play like this because you were in jail? PAGANINI No, M’am... Only lazy people can’t accept that one can accomplish great mastery through one’s own effort and in privacy of one’s room than under lock-and-key. APPLAUSE from the crowd. PAGANINI FAN #3 If you’re so good, then why don’t you play it all on one string? Paganini smiles, raises his Amati and with a pair of tin snip scissors cuts each string one-by-one. As he continues playing he does the same with all other strings with only one string left executing all notes with perfect precision. THE CROWD explodes in deluge of GASPS and SCREAMS. 20.

PAGANINI FANS (ensemble) Hail to the King... Long live the king of music. AUDIENCE CLAPS as Paganini leaves the stage. CAMERA MOVES to Liszt, Chopin, Marie-Catherine and Delfine now sitting together, excited, yet casual. DELFINE Franz. Thank you for inviting us. LISZT You know, this operation is entirely illegal. Paganini doesn’t even have a license to run this casino. MARIE-CATHERINE But how is it possible to play on one string and still keep the tune, with all the chords and at times even make it sound like it’s two violins playing. LISZT You mean the scordatura in Merveille? This technique was originally developed by lute players in Alsace. With one turn of the knob Paganini can change tuning of the strings and the scale, thus making his fingering easier and allowing him to play faster. ANGLE ON STAGE with guitar propped against a chair as Paganini enters stages basking in flood of candlelight and smoke. FEMALE DANCERS with a BAND OF GYPSIES start to dance as Paganini picks up the guitar. Liszt smoking cigar glances at Marie-Catherine. Her deep-dark eyes shine with excitement. Paganini’s playing is breathtaking as he changes from improvised baroque tunes to flamenco and exotic clave rhythms while maintaining lyrical, melodic line. ANGLE ON Marie-Catherine who can hardly contain her attraction for Liszt. 21.

19 INT. LISZT’S CARRIAGE - NIGHT 19 The carriage speeds across desolated streets of Paris. Marie- Catherine sits on top of Liszt making passionate to love him. They’re both giving it all they’ve got with Liszt being totally overwhelmed by her.

20 INT. CHATEAU DE CROISSY. D’AGOULT RESIDENCE - DAY 20 Count d'Agoult and Marie-Catherine sit at breakfast opposite from one another. BUTLER places silver tray with envelope in front of her. She darts a quick look at it and opens it reading it hastily. LISZT (V.O.) My love... I am leaving Paris at once. Meet me tomorrow at six in the evening. My place. Dead silence. MARIE-CATHERINE Do you remember what you promised me when I married you? (pause) You promised that you would let me out of the marriage when I wanted to? Silence. MARIE-CATHERINE (CONT’D) I’m asking your permission to do this now. Do you consent? The husbands nods.

21 EXT. BRITTANY. LA CHENAIE - DAY 21 Liszt and Marie-Catherine are on horseback riding across in the beautiful country in Brittany. They gallop over wide-open fields towards the castle of ROBERT LAMMENAIS, (42) a mystic and a priest.

As they arrive he greets them at the gate wearing traditional cassock, a straw hat and tattered grey coat. Liszt kneels in front of him and kisses his hand. Marie- Catherine genuflects and does the same. They walk inside the castle. 22.

CUT TO Father Lammenais’s observatory as they stand in front of giant globe sparkling with electric, violet light. LISZT Tell me abbe... What’s going to happen to me? What is my future? FATHER LAMMENAIS (points at the sparkling globe) Leave money and fame out of this, or this is what’s going to happen to you. Liszt and Marie-Catherine get closer to the mystic. FATHER LAMMENAIS (CONT’D) Find true artist in you Franz by listening to your soul, not to your pride and ambition. A cluster of galaxies appears in front of them. FATHER LAMMENAIS (CONT’D) This world will deceive you, because it’s the material world you’re after, but you can save yourself if you listen to your heart. LISZT Tell me please how I can accomplish this? FATHER LAMMENAIS The mass of this universe is made of cold, dark matter known as void. We can calculate it but we cannot see it, or describe it, yet it’s the stuff of which the entire Universe is made of. A myriad of galaxies appear inside the globe with a multitude of elliptical and spiral formations reacting and creating more galaxies.

FATHER LAMMENAIS (CONT’D) The other half is force. Energy. That’s the gift of God, energy, not money, women or fame. (MORE) 23. FATHER LAMMENAIS (CONT’D) Stay away from the void, and by extension from any material possessions, and follow the spiritual path of God. Then you’ll succeed. Don’t live in the void. As more galaxies appear, blue gases make innumerable formations creating more miniature worlds with it. FATHER LAMMENAIS (CONT’D) Those gases have consciousness. They interact with cold, dark matter and create life. LISZT But how is this possible? FATHER LAMMENAIS Spirit! Life force! The formations disappear. Liszt is exhausted. He weeps silently. Father Lammenais and Marie-Catherine are gone leaving him alone.

22 INT. LISZT'S APARTMENT. RUE DE PROVENCE - NIGHT 22 Liszt is at the piano practicing as Marie-Catherine enters. LISZT My new composition. MARIE-CATHERINE What is it called? LISZT Benediction. The blessing of the Holy Spirit. He draws quick arpeggios on the piano while maintaining strong, pulsating rhythm blending with a beautiful, overlapping melody. Marie is fascinated. Liszt gets up from the piano and takes her in his arms. LISZT (CONT’D) Come with me...

MARIE-CATHERINE (resisting him) I can’t. LISZT Come... come live with me. 24.

They kiss passionately.

23 INT. ILE ST. LOUIS. HOTEL LAMBERT - DAY 23 A two-horse carriage passes Quai Anjou at the tip of Île Saint-Louis. ANGLE ON Chopin, in grey tuxedo with matching cylinder and gold-encrusted ivory cane. He steps out and helps Delfine get out of the carriage. They head to the entrance of Hotel Lambert. CAMERA MOVES INSIDE the lobby as ADAM MICKIEWICZ, (23) JULIUS SLOWACKI (28) PRINCE ALEKSANDER CZARTORYSKI, (32) and his wife MARCELINE CZARTORYSKI, (23) CYPRIAN NORWID, (25) mix with the literary elite of Paris. Delfine and Chopin exchange greetings and as they pass the lobby they step into the gathering of Polish Literary Society. It’s LOUD and formal. Champagne is served. ANGLE ON Mickiewicz, Slowacki, Heine and Norwid with Chopin and Delfine sitting at their table. MICKEWICZ We’re fortunate to have such great support for the Polish cause. It looks like Paris is the capital of Poland. Delfine glances at Heine and Mickiewicz. DELFINE (to Chopin) Those two are inseparable. HEINE (ovehearing the remark) Lord Byron, Mickiewicz and I are helping Polish cause, and Greece. DELFINE It seems that music and poetry are the best weapons against injustice. CHOPIN Don’t forget opera.

All eyes are on Chopin. MICKIEWICZ Why do you believe so? 25.

CHOPIN Bellini, Verdi and Donizetti can deliver a message to anyone. (pause) Besides I don’t think anyone can truly understand music without knowing how to sing. MICKIEWICZ If you’re so ecstatic about opera why don’t you write one for Poland. DELFINE (revolting) He won’t write operas, and asking him to do that because Poland needs one is brutal and inconsiderate. We should instead concentrate on how we can help him arrange worthy performance in Paris, and in front of real audience. Nods to Chopin. DELFINE (CONT’D) Please excuse us but we have other matters to attend. Delfine and Chopin leave. ANGLE ON carriage pacing through Ile St. Louis.

24 INT. SALLE PLEYEL. RUE DE CADET - DAY 24 Enormous crystal chandeliers glimmer with millions of kaleidoscopic colors. The hall is packed wall-to-wall. Camille Pleyel sits in the box with his stunning wife MARIE MOKE-PLEYEL (23). It’s a black-tie gala performance with full turnout. Chopin enters stage and takes his place behind the piano. ORCHESTRA begins with the passages of Chopin’s Piano Concerto No. 1 in e-minor, Op. 11. ANGLE ON

LEON ESCUDIER, (25) and his brother MARIE-PIERRE ESCUDIER, (27) from LA FRANCE MUSICALE sitting next to Ludwig Rellstab. 26.

RELLSTAB Why does he only play his own music? True virtuosi also play music of others. L’ESCUDIER That’s because you’re confusing a virtuoso with composer. It’s the difference between reading and writing. RELLSTAB I know but he plays nothing except dominant chords and chromatic changes warranting a visit to a surgeon. L’ESCUDIER Aren’t you the person who called Beethoven’s funeral march a Moonlight Sonata? Rellstab recoils. L’ESCUDIER (CONT’D) (turning to Rellstab) Be frank with me, what really bothers you more about Chopin, the poetry of his music, or the fact that every woman in Paris would like to have an affair with him? Rellstab leaves. As Chopin plays beautiful, rich SOUND floods the hall with AUDIENCE absorbing the notes as if they were last gasps of air. This is Chopin at his best and he plays like he knows it. He has waited for this moment all his life. When it’s over, AUDIENCE leaps on their feet CLAPPING, echoes of their HOWLING bouncing thru the building.

25 INT. CHOPIN’S RESIDENCE. RUE DE LA CHAUSSEE D’ANTIN - DAY 25 A KNOCK on Chopin’s door wakes him up. It’s Camille Pleyel with his wife Marie-Pleyel. She looks strikingly beautiful, wearing expensive jewelry, and a raised-collar fur coat. 27.

PLEYEL What you’ve done was absolutely magnificent, for Paris and for humanity. (hands him an envelope) Here’s your money... It’s two thousands francs. I came to offer you to be your manager. Chopin smiles. CHOPIN Fine. If f-minor concerto is acceptable. PLEYEL But of course... Yes, the repertoire! You’ll play to full house again, I’m certain of it. (pause) And by the way, Wagner’s here. He’d like to talk to you. There will be a reception at my house tomorrow. Be there... They leave.

26 EXT. SWISS ALPS. FERRYBOAT - DAY 26 Long, sweeping passages of Liszt’s Elegy enter the SOUNDTRACK as Liszt and Marie pass the French border. In front of them is Lake Geneva and the unfolding Swiss Alps.

27 INT. PARIS RESTAURANT - DAY 27 Chopin is having dinner with PRINCE VALENTIN RADZIWILL, (23) at a restaurant: AU ROCHER DE CANCAL. CHOPIN (disappointed) Paris is not for me... I’m going back. Liszt is the star here and it’s perfect for him. There is no room for me in this town. PRINCE VALENTIN Liszt’ won’t be back for a while He’s trying to avoid the scandal they’ve created with Marie d’Agoult by escaping to Italy. 28.

CHOPIN He’ll be back. Word’s out he’s preparing for duel with Thalberg. (pensive) I cannot even support myself here. I may go to London, or America. PRINCE VALENTIN (horrified) Why? CHOPIN I can’t even sell my work to publishers, or get few more students to teach, not to mention I’m not even looking forward to perform. PRINCE VALENTIN Give yourself a chance. CHOPIN A chance for what? PRINCE VALENTIN Conquering Paris takes time. CHOPIN I don’t have a lot of time. Liszt is the star here, not me. PRINCE VALENTIN (thinking) Before you do anything, promise me you’ll go with me somewhere tonight. A friend’s request. Promise? Chopin nods in approval.

28 INT. NATHANIEL DE ROTHSCHILD RESIDENCE - NIGHT 28 Soiree at the richest family in Paris. Prince Valentin is already there. Food is served. As Chopin enters BARONESS CHARLOTTE DE ROTHSCHILD (21) and her husband Nathaniel de Rothschild (23) are already expecting them. BARONESS DE ROTHSCHILD (getting up from her armchair) Monsieur. 29.

CHOPIN (kissing her hand) It’s such a pleasure to finally visit you at your beautiful home. BARONESS DE ROTHSCHILD It’s absolutely amazing to have you in my quarters. My husband always talks about inviting you to visit us, but he’s never delivered on his word. I’m thrilled to see you to say the least. CAMERA FOLLOWS Nathaniel de Rothschild, COUNT BEAUVAU (27) and COUNTESS PERTHUIS (26) greeting Chopin. NATHANIEL DE ROTSCHILD Frederic... Finally, my wife’s dream has come true. You’ve come to see us. CHOPIN The pleasure is entirely mine. SERVANTS serve champagne. CUT TO Chopin and Prince Valentin. CHOPIN (CONT’D) Why did you bring me here? Charlotte is my student. I’ve dedicated two of my waltzes to her. I know them both quite well. She’s an amazing artist, a watercolorist and excellent pianist. PRINCE VALENTIN Because you’d never do it yourself. Those people can help you. CHOPIN Do you think it’s going to work? PRINCE VALENTIN Of course. BARONESS DE ROTHSCHILD Madames et monsieurs... Monsieur Frederic Chopin will perform for us a recital this evening. 30.

COUNTESS PERTHUIS O.S. (incredulous) A recital? How is it possible to recite on musical instrument? ANGLE ON Baroness. BARONESS DE ROTHSCHILD It’s a term that Franz Liszt invented gaining popularity these days. (smiles) I guess you have to be a pianist in order to know that. COUNT BEAUVAU Ah, another virtuoso. BARONESS DE ROTHSCHILD (gregarious) Never mind. (spatulated hand; pointing to the piano) Monsieur Chopin, please. Chopin sits at the piano. He performs Etude No. 7, Op. 10 and then proceeds with his Ballade No. 2 in F major Op. 38. GUESTS are hypnotized by Chopin’s grace and expressiveness as he brilliantly improvises on Mozart’s “La Ci Darem Di Mano” and ends his performance with his Barcarole in F-sharp major, Op. 60. GUESTS (ensemble) Bravo... Bravo! Please more. More! We want more. (enthusiastically applauding) Bravo... Encore! Please more. The salon candles are dimmed and Chopin plays an encore. He plays Prelude No. 4 in e-minor, Op. 28 and by the sobs and sighs in the audience Chopin knows he has won their hearts.

29 EXT. LAKE COMO. VILLA MELZI BELLAGIO - DAY 29

A sprawling garden at the narrow arm of the lake with Marie- Catherine, pregnant, resting with JUDITA PASTA,(27) a legendary singer and neighbor. Liszt is swimming. He steps out of the water, dries himself up with a towel. 31.

ANGLE ON Dante’s Divine Comedy and Goethe’s Faust on the stand. JUDITA (teasing) You’re never separated from these books aren’t you? MARIE-CATHERINE He spends more time with them than with me. Add to this hours spent on his transcendental etudes as he calls them now with which he’s trying to conquer both Chopin and Paganini and this leaves me with... LISZT (kissing her) Not at all my love. I am all yours. As for the books don’t forget my breviary. Together they give me more strength than Doctor Faust. Judita and Marie-Catherine exchange knowing look of mutual understanding.

30 INT. CHOPIN’S RESIDENCE. RUE DE LA CHAUSSEE D’ANTIN - DAY 30 A busy hallway full of students waiting their turn. SOUNDS of piano coming through the door. ANGLE ON Chopin in his study, teaching. CAMILLE OMEARA (11) and very pretty is struggling with a Czerny etude. Camille’s MOTHER is on her side next to her turning pages on the piano. Chopin is not satisfied. CHOPIN (to mother) She plays like a German. Never let the child play loud. (to student) Mettez donc toute votre ame. Put all your soul into it, but not loud.

GIRL’S MOTHER I’ve been trying to tell her that all the time. Camille! The girl’s playing gets softer and clearer. 32.

CHOPIN (at ease) Souplesse! I know... to attain the souplesse is the most difficult test for any pianist. Il faut chanter avec les doigts. You must practice to sing with your fingers, but don’t worry. Time is your best critic and patience the best teacher. Eventually, you’ll learn how to do this. Omeara plays a string of arpeggios with ease. CHOPIN (CONT’D) Facilement... Facilement! Easy, easy. Simplicity is art’s final seal. Pianoforte is infinite, but it’s within the limit of its means. Your interpretation should never be forced, but subjected to the same limitations that can release and access its boundless potential.

31 INT. VILLA MELZI. BELLAGIO - NIGHT 31 Marie-Catherine is in labor. A DOCTOR is present. It’s twilight and the lights on Lake Como begin to glitter. DOCTOR (encouraging) Push harder... Harder! An intense moment, as the doctor holds beautiful baby-girl uttering her first cry. ANGLE ON Liszt as he storms into the room utterly distressed. Doctor hands over baby-girl to Liszt who with triumphant expression holds her up against the glimmering lights of Lake Como. LISZT Cosima! We’ll call our darling daughter Cosima.

Marie-Catherine is sobbing. Liszt has tears in his eyes. 33.

32 EXT. PARIS. TORTONI CAFE - DAY 32 Chopin and Liszt are sitting outside having a cafe. LISZT Belgiojoso is giving charity event next week. I guess you know the whole Paris will be there. There’s also a duel planned between me and Thalberg. ANGLE ON a crowd of Liszt’s FANS approaching their table. ADMIRER That’s Liszt! Franz Liszt! As more FANS gather stretching their pads Liszt signs the autographs and turns to Chopin. LISZT I wrote a piece especially for this occasion based on six days of creation. It’s called Hexameron. CHOPIN (thinking) You know the difference between you and I Franz? LISZT What? CHOPIN You know how to play, but I know what to play. Liszt laughs. LISZT You’re so right. It’s all about knowing what music to write, and you are so good at it. Marquis de Custine put it best when he described your work as beyond pleasure. In fact, he called it jouissance, beyond orgasmic and that listening to just few minutes of your compositions played-well can last a lifetime. 34.

CHOPIN (pleased) Probably, you’d like me to write a piece for Belgiojoso’s event as well? LISZT Of course, if you’d like to. Herz, Pixis, Thalberg and Czerny are going to write theirs. I’ll do the introduction and the finale. CHOPIN (sipping cafe) Very well... I’ll write it.

33 INT. PRINCESS BELGIOJOSO’S SALON - DAY 33 An elegant Paris salon crowded with literary figures. Expensive porcelain, mahogany furniture, three concert grand pianos amidst a multitude of bookshelves, armchairs and sofas. CAMERA MOVES TO Pauline Garcia-Viardot with Delfine Potocka and Marie-Catherine chatting, all three women looking stunningly beautiful. Marie-Pleyel enters the salon accompanied by Pleyel. PRINCESS CRISTINA TRIVULZIO BELGIOJOSO, (25) tall, striking wearing a magnificent dress greets them. PRINCESS BELGIOJOSO Camille... Thank you for coming. How are you Marie? Marie-Pleyel smiles, passes her by and blends with the crowd running into Liszt. LISZT (stretching his arms) Marie-Félicité. Bonjour! Camille, how are you my friend? MARIE PLEYEL (seductive) We came to find out who’s the greatest virtuoso.

LISZT You are my dear! I still cannot forget you in Weber’s Konzertstück. 35.

MARIE PLEYEL And I can’t in yours. CAMERA MOVES to pianists: Thalberg, Chopin, Herz, Pixis, Moschelles, Schumann, Mendelssohn, Hummel and Czerny, all superstars in their own right mixed with the CROWD. PRINCESS BELGIOJOSO Ladies and Gentlemen! Thank you all for such lovely turnout. We will now begin our competition and determine the best pianist in Paris. Who do you think it will be? (she turns to the musicians) Each of you will play an improvisation on a tune from Vincenzo Bellini’s I Puritani, and of course you can also add your own work, if you desire, and at the end we will determine the winner by common vote. Who’s first? She turns to the musicians, as Mendelssohn rises and walks to the piano. ANGLE ON Mendelssohn who plays Liszt’s Consolation No. 2 poorly, as he is not a virtuoso. LISZT (annoyed) Why don’t you play your own work instead of butchering mine? Mendelssohn balks and proceeds to play Andante from his Midsummer Night’s Dream overture, also struggling with it. He halts and turns to Liszt. MENDELSSOHN (halting abruptly) Why don’t you play something new and striking. Liszt agrees and replaces Mendelssohn at the piano. LISZT Very well... That’s how you play Bellini. Listen!

He improvises on Elvira's aria “Qui la voce sua soave” from Bellin’s I Puritani, then proceeds to Transcendental Etude No. 9 in A-flat major (Ricordanza) and Mephisto Waltz No. 1. When Liszt stops playing a thundering APPLAUSE follows. 36.

Victorious, Liszt takes a seat next to Chopin with Marie- Catherine. ANGLE ON Mendelssohn. MENDELSSOHN (self-conscious) Liszt always plays pranks with peoples music, mine not withstanding. People start whispering stunned by what they heard as Princess Belgiojoso enters stage. PRINCESS BELGIOJOSO Now, our Swiss friend, the one and only Sigismond Thalberg. Please, welcome! APPLAUSE follows. Thalberg sits at the piano and plays Fantasy "La Donna del Lago" Op. 40 then switches to very technical Grand Fantasy Op. 63. Improvising along, he draws scarves of arpeggios, and while maintaining the rhythm makes it seem as if three thumbs were playing. GUESTS are astonished and leap to their feet with APPLAUSE. For now, Paris seems to be divided between Thalbergians and Lisztians. PRINCESS BELGIOJOSO (CONT’D) (excited) Liszt and Thalberg are like Dante and Petrarch. They are Michelangelo and Raphael. MARIE-CATHERINE (agreeing) They are Goethe and Schiller. ANGLE ON Carl Czerny who takes his turn behind the piano and plays Etude No. 50 Op. 740 with fast progression of arpeggios. LISZT (to Chopin) Do you know where comes the misunderstanding of my works? CHOPIN It seems you too have a Rellstab. 37.

LISZT Mendelssohn is the most jealous musician that has ever lived and he always disliked me. Once he drew my picture on a blackboard with me playing his g-minor concerto with hammers in my hands. Marie recoils as Liszt is heard loudly. LISZT (CONT’D) The truth is that I only played this concerto from the manuscript for the first time, and I found few of his passages rather dull and unexciting, so I changed them slightly to suit my own ideas. This of course amazed Mendelssohn who never takes a hint of advice from anyone, unlike you, or Schumann. ANGLE ON Mendelssohn and back to Liszt. LISZT (CONT’D) What makes matters even worse since he’s not a good pianist, I should say a refined virtuoso and can never play my compositions with any kind of effect, the only course open to him is to vilify me. MARIE-CATHERINE I don’t think you should pick a fight with Mendelssohn now. He’s very much liked in these circles, and it’s not a good idea. By now nearly everyone in the room has heard it. PRINCESS BELGIOJOSO (counting the votes) I’d like to have an honor for Monsieur Pleyel to announce the winner. She turns to Camille Pleyel. PRINCESS BELGIOJOSO (CONT’D) Monsieur Pleyel. Please, make the announcement. PLEYEL (taking the ballot and reading) (MORE) 38. PLEYEL (CONT'D) It’s unanimously decided that both Monsieur Liszt and Monsieur Thalberg are the winners of our Italian refugee charity event and that both pianists have no equal. Applause in the audience. ANGLE ON Liszt glancing at Chopin leaving with Delfine. LISZT (murmuring) Oh, yes there is... CUT TO Delfine and Chopin stepping into their carriage. DELFINE So what do you think of Liszt and Mendelssohn? CHOPIN I don’t usually take sides, but I think the entire controversy between Liszt and Mendelssohn is ridiculous. CAMERA MOVES to Camille Pleyel and Marie-Pleyel. On seeing Liszt leaving the building she walks over to him and stuffs a note in his hand. Liszt opens the note immediately. ANGLE ON note: "My love. Meet me tomorrow night at Chopin's at eight, alone." CUT TO Pleyel and Marie. PLEYEL (inquiring) What is it darling? MARIE PLEYEL Nothing. I wanted to say goodbye to Franz. CAMILLE PLEYEL (incredulous) You’re going to see him at the showroom. MARIE PLEYEL I know. 39.

34 INT. CHOPIN'S RESIDENCE. RUE DE LA CHAUSSEE D'ANTIN - DAY 34 Loud SOUNDS of Liszt’s and Marie-Pleyel’s lovemaking reverberate through Chopin's bedroom. Although we cannot see them, we can hear them as CAMERA PULLS AWAY through open window. ANGLE ON Liszt and Marie-Pleyel.

35 INT. LISZT'S CARRIAGE - DAY 35 Chopin and Liszt are speeding their carriage to Rossini's mansion. In joyful mood and laughing they stop at elegant, Mediterranean looking mansion. CHOPIN & LISZT (ensemble) Villa Rossini!

36 INT. ROSSINI’S VILLA. PASSY – NIGHT 36 Rossini is rehearsing his work. Ballet dancers work their choreography while house GUESTS come in and out. ANGLE ON small orchestra rehearsing the score with Meyebeer and Delacroix watching them. ROSSINI (seeing them walk in) Ah... Franz Liszt. Ce l’abbiamo fatta per miracolo. LISZT Hello Maestro. We’ll play for your marvellous pasta dishes. Rossini laughs. LISZT (CONT’D) Monsieur Chopin. ROSSINI (shaking his hand) Of course. Couldn’t wait to meet you in person.

LISZT (to Chopin) You said you liked my performing indicating that I knew how to do this properly. (MORE) 40. LISZT (CONT'D) I really would like to know what you think of my playing. As Chopin nods Liszt walks over to the piano and plays a brief passage from his Piano Concerto No. 2 in A major. LISZT (CONT’D) How’s this? CHOPIN Not very good. Your playing is too rough. You must torture the piano with love. Liszt stops playing. LISZT All right now. He repeats the passages, then switches to Un Sospiro and stops. LISZT (CONT’D) How’s that? Am I torturing the piano with love? CHOPIN No. You’re torturing the audience with the piano. Rossini walks up to Chopin. ROSSINI (laughing) Monsieur Chopin. Why don’t you play for us? CHOPIN Very well. Chopin plays his Fantaisie in F minor, Op. 49 with amazing “bel canto” feel of the piano. He then changes to Scherzo No. 1 in B-minor, Op. 20 and follows up with a short, and beautiful Prelude No. 12 in G-sharp minor Op. 28. Listeners GASP. Everyone APPLAUDS. Rossini is astonished. ROSSINI Bravo. Bravo! It’s so original. It’s as if you had a magic wand to bring everyone to you and listen to a story being told, and what a story it is... 41.

Chopin nods in appreciation. CHOPIN (to Liszt) That’s how you torture the piano with love. ANGLE ON Rossini. ROSSINI How do you play the rubato? No one does it like this. It’s so gentle, refreshing, like a passing breeze and yet it’s so steady and pure, and the singing manner of your legato. It’s like opera. CHOPIN (smiles) I don’t follow other pianists, only great singers of operas like yours who teach me how to phrase. ROSSINI Is this the secret to your work? CHOPIN There are no secrets, only craft gained by hours of practice and the will to express compassion through music.

37 INT. HOTEL DE FRANCE. RUE LAFITTE - DAY 37 A gathering of The Humanitarian Society. GEORGE SAND, (34), dark-haired, very attractive is on the sofa wearing white pantaloons matched with scarlet-red sash. Among the GUESTS are Delacroix, Herz, Franchomme, the Viardots, Chopin, Liszt and Marie-Catherine. ANGLE ON Sand, Liszt and Delacroix. DELACROIX Who would you say is the greatest living composer who can break and challenge all forms of music, greater even than Berlioz, Wagner, Schumann, or even yourself. 42.

LISZT Greater than Berlioz, greater than Wagner and Schumann, greater than even me? SAND Who’s that? LISZT It’s Chopin. SAND Hmm, Chopin. ANGLE ON Pauline Viardot singing an Aria from Donizetti’s Lucia di Lammemoor. A HARPIST accompanies her in the b.g. Chopin approaches them. LISZT (smiling) Let me introduce you, George. This is Frederic Chopin. SAND (getting up) Monsieur Chopin. Chopin bows politely. SAND (CONT’D) I hear that you revive dreams of men and women who had forgotten how to dream. CHOPIN Thank you Madam. My dreams are my music and within music lies their eternal beauty. Sand sits next Marie-Catherine, Liszt, Chopin and Delacroix. DELACROIX Music on the highest level appropriates masterpieces in painting and literature and when well-written even exceeds them. 43.

LISZT True... The greatest art attains its summit in instrumental music, especially in piano and violin, and although I’m not a violinist, piano and violin music are the greatest of all arts. MARIE-CATHERINE (looking at Liszt) We all love those concerts, don’t we? CHOPIN I’m not fond of concerts and I’ve given up in them the idea of hearing the most beautiful thing in art. Music is so much more, and reducing it to concert playing is like looking at life in a laboratory, removing all poetry from it. SAND I must agree. The salon is not the best setting either, but it’s better than concert hall. What it’s really about is owning your own piano and making music at home. CHOPIN That’s right. MUSIC enters with Franchomme playing Liszt’s Liebestraume No.3 on cello as Herz accompanies him on piano in the b.g. SAND What is this work called? LISZT Dream of love.

38 EXT. NOHANT - DAY 38 A six-horse carriage paces along the banks of Indre river in the province of Berry towards picturesque villages of Nohant- Vic.

CAMERA MOVES among the orchards and poplars checkered with thatched huts and innumerable paths leading to sprawling meadows with bundles of wheat in the fields. The carriage stops in front of an eighteen-century manor nestled on the outskirts of a small, romantic village. 44.

Chopin and Sand get out and walk inside Sand’s residence. SAND My grandmother bought this house in 1793. It was originally built for the governor of Vierzon. ANGLE ON the manor’s stylish interior. SAND (CONT’D) I spend my entire childhood and adolescence here, and I’ve done most of my writing in this study. ANGLE ON bookshelves in the library and in the adjoining study. SAND (CONT’D) My home is your home. How do you say that in Polish? CHOPIN (without hesitation) Czym chata bogata tym rada. SAND (pensive) You know, my father Maurice Dupin was the grandson of Marshal General of France, Maurice Comte de Saxe who was the illegitimate son of August Second the Strong, King of Poland, so I have some Polish blood in me as well. I feel it too. ANGLE ON children playing in the grass. It’s MAURICE DUDEVANT, (14) and SOLANGE DUDEVANT (9). The girl is very beautiful. SAND (CONT’D) These are my children, Maurice and Solange. I was married when I was nineteen. First, my son Maurice was born when I was twenty, and then I had Solange five years later. My former estranged husband is a nobleman, but himself the illegitimate son of Augustine Soule and Baron Dudevant. He wasn’t the right choice for me. I got the custody of the kids four years ago. It wasn’t easy. They walk to the salon. 45.

ANGLE ON Érard Grand piano standing by the window with a magnificent view of the countryside. SAND (CONT’D) And here’s your piano. It’s all yours. (pause) It’s not much, certainly nothing compared to the riches of Marie- Catherine d’Agoult. You know Liszt uses women a lot; he uses everyone and everything to advance his cause including music, and he’s certainly Husing my friend Marie-Catherine for her enormous wealth and connections. My means are limited. I have to earn every franc with my writing, and I’m not Dumas or Hugo, and it’s not always easy. CHOPIN It’s the same here. I have not been able to sell any of my compositions except for few etudes and a concerto. SAND Oh, you will... Don’t worry. You will.

38 INT. PARIS. SALON PLEYEL - DAY 38 Liszt performs Totentanz in front of enchanted audience. The showroom is packed wall-to-wall. ANGLE ON Camille Pleyel and Marie-Pleyel in front row listening to Liszt as he performs with great feeling and expression.

39 EXT. LICHTENSTEIN HOUSE. VIENNA - DAY 39 A twelve-horse carriage accompanied by a procession of carriages makes its way to enormous driveway. ANGLE ON Liszt and Marie-Pleyel kissing inside the carriage as the cavalcade stops at the courtyard.

Liszt wearing black raised-collar jacket and white gloves steps out of the carriage and greets a group of FANS SCREAMING with excitement. Lisztomania is in full swing. CUT TO 46.

AUDITORIUM packed with audience. LOUD SCREAMS erupt as Liszt enters center stage. LISZT (raising his hands) Ladies and gentlemen... The concert is me. I AM the concert! He starts with his Sonnambula-Fantasy, and then changes to his Grand Galop Chromatique in E-flat major. WOMEN faint as Liszt moves his hands over the piano keyboard with tremendous speed and skill.

40 INT. SCHUMANN’S RESIDENCE - NIGHT 40 Robert Schumann is in his salon with CLARA WIECK, (19) very beautiful, and with Liszt who’s reading music score. SCHUMANN The duel with Thalberg was something else, wasn’t it? So where are you heading next? LISZT (raising his eyes from the sheets) Berlin of course. I have twenty performances scheduled, already gave my eight in Vienna. After that Seville, Madrid, Cordoba, Portugal and Russia. SCHUMANN Where’s Marie? LISZT She’s back in Paris with the kids. SCHUMANN (nodding to Clara) You want to play something for us? Clara gets up, walks over to the piano and plays Chopin’s Etude No. 10 Op. 25. Schumann and Liszt are amazed. LISZT Wonderful! Your sense of phrasing is amazing. You can teach me how to play. 47.

CLARA Thank you. You’re very kind. I’m sure my playing doesn’t compare to your flying-trapeze school of playing, Thalberg’s or Alkan’s and many pianists would sell their soul to the devil to play like you. Liszt smiles as she leaves the room. SCHUMANNN (pensive) Franz... please. LISZT What? SCHUMANNN Obviously, Clara is attracted to you. Please, Franz. Spare her. Leave her to me.

41 INT. VIENNA MOZARTHAUS. SALA TERRENA - DAY 41 Impressive, baroque concert hall packed wall-to-wall with FANS, a monastery-type setting where Mozart performed many concerts and wrote his “Marriage of Figaro”. ANGLE ON Liszt as he plays the organ improvising on Bach’s Fantasy and Fugue Ad Nos Ad Salutarem Undam. Massive SOUND of organ SHAKES the chapel as AUDIENCE is both terrified and astonished. SCREAMS are heard, WOMEN faint.

42 INT. NOHANT - DAY 42 An evening at Sand’s and Chopin’s with Delacroix, Delfine, Pauline and her husband, LOUIS VIARDOT (40) MARQUIS DE CUSTINE (34) and Marie-Catherine keeps them company. Sand sits with Marie-Catherine slightly apart from the rest. SAND (sipping wine) Where’s Franz?

MARIE-CATHERINE On tour! I don’t know. Berlin probably, or Vienna. 48.

SAND (pensive) We’re both writers and are both desperately in love with two music geniuses who don’t really care a lot about us. MARIE-CATHERINE I don’t know what he cares more about women, music, or money. SAND It’s certainly not money for Chopin. He cares absolutely nothing about it, especially by the way he spends it, and women... You tell me. I wouldn’t know. MARIE-CATHERINE I don’t think Franz is looking for affairs. He plunges into them, and I have to tolerate it, but I can never forgive him for it. ANGLE ON Delacroix, Pauline, Sand and Marie-Catherine walk into the living room. Sand’s children Maurice and Solange are there as well. Chopin is at the piano and not aware that all eyes are on him. He improvises, and then pauses for a moment. PAULINE (pleading) Don’t stop, please... CHOPIN (playing) Nothing’s coming to me but strange shadows and reflections. Reliefs that won’t go away, yet I’m looking for color, but can’t see any shape in them. DELACROIX You won’t find one without finding the other.

SAND (moving closer to the piano) Perhaps then you’ll find a reflection within a reflection. 49.

CHOPIN (striking a chord) That’s good. A THEME rings out. CAMERA PULLS and MOVES BACK to Delfine laying on the sofa, reposed. She is in ecstasy listening to Chopin’s playing, dreaming. DELFINE (getting up) My Frederic... I know that song from the cradle. My mother used to sing it to me. I have it in my soul, and you just played it! Chopin keeps playing. CHOPIN You never heard this tune before. DELFINE (pressing her hands to her heart) But I have it here, right here. In my heart! You just made me very happy. There are no words for it. You never knew this song... Only its spirit. It’s the spirit of Polish melody. CUT TO:

43 EXT. ZELAZOWA WOLA. POLAND - DAY 43 Winter Storm. Two barely recognizable figures, Chopin,(10) and his father NICOLAS CHOPIN (39) struggle through the snow. Sweeping SOUND of Chopin’s Winter Wind etude No. 11 Op. 25 enter the SOUNDTRACK. The storm intensifies as CAMERA REVEALS bleak contours of an old, solitary roadhouse. A sign above the entrance to the inn displays: Under Golden Rooster. FOLK MUSIC and DANCING are heard from within.

Nicolas and Frederic enter inside. They shake the snow off their boots and coats. FOLK MUSICIANS play the fiddle as FEMALE DANCERS dance in traditional Polish clothes. It’s garrulous. Food is served. 50.

FIDDLE PLAYER comes up to the table and plays a tune. NICHOLAS CHOPIN Hurry up Frederic. Let’s eat and drink something hot. FOLK MUSICIANS continue playing.

44 INT. WARSAW BOARDING SCHOOL - NIGHT 44 A living room full of YOUNG BOYS tearing everything up from curtains to pillows, running around and SCREAMING. Young Chopin is with them. A pillow fight erupts among them. YOUNG CHOPIN (hollering) Stop! Stop! I’m going to tell you a story. Stop now, I beseech you. The fight stops as some boys slow down looking at Frederic uncertain what to do next. Frederic blows out the chandeliers one by one, and with his fingers moving against the candle projects images on the wall. YOUNG CHOPIN (CONT’D) There are thieves and robbers. Thieves will be thieves, robbers will be robbers. It’s a dark, creepy night in full moon... A shadow on the wall as he gets the boys attention with Chopin’s hands moving against the candlelight. SOUND of piano enters as Frederic plays in darkness against the glimmering shadows of the candle. YOUNG CHOPIN (CONT’D) It’s pitch dark and the thieves are lying on the ground with the loot on their chests, holding it in their hands, grasping the diamonds and the gold. He strikes few chords from Ballade No. 1 in G minor Op. 23 and begins to improvise on it.

The boys begin to fall asleep and close their eyes one-by- one, some are already sound asleep. CUT TO 51.

Frederic tip-toeing to his mother JUSTINE CHOPIN (35) and his sisters LOUISE, (13) ISABELLE, (9), and EMILE, (8). YOUNG CHOPIN (CONT’D) Mother, sisters come with me. Quickly! Hurry up. Mother and three sisters tiptop back with him and see the view of the boys asleep. Frederic runs to the piano and strikes a loud, dissonant chord that immediately gets all the boys on their feet who do not know what’s happening to them. The whole company breaks out in LAUGHTER. CUT TO Sand’s residence with Delfine listening to Chopin’s playing. CHOPIN I remember now where I got this tune from. Chopin’s Nocturne No. 1 in F major Op. 15 overwhelms the SOUNDTRACK as he continues playing to the amazement of his friends.

45 EXT. NOHANT - NIGHT 45 Sand and Marie-Catherine take a leisurely stroll near the river. SAND I love Chopin’s approach to music that I believe is also the best approach to writing. For him a music idea should impose its own form and that’s more important than writing correctly formatted fugues, or sonatas. Same with novels, poems and plays. MARIE-CATHERINE Chopin’s music shines like the dawn of light, like the sun rising in search of form and sound seeking its color. His music can open the gate to Infinity. SAND What about Franz? How would you appraise his works? 52.

MARIE-CATHERINE I am planning to write a book with him as main character in it. SAND No kidding. I had exact same idea about Chopin. MARIE -CATHERINE What’s the title of your book? SAND It’s called Lucrezia Floriani. And yours? MARIE-CATHERINE Nelida.

46 EXT. BONN. MARKET PLACE - DAY 46 Beethoven’s birthplace. A ceremony is taking place with FRENCH OFFICIALS dedicating a monument to Beethoven, and Liszt as designated spokesman. Liszt arrives with LOLA MONTEZ, (23) red hair, stunning looking. LISZT The universe is hidden inside the music of Ludwig van Beethoven. His sonatas, symphonies and strings quartets are testimony to human spirit that when translated into words can reveal our deepest thoughts. AUDIENCE APPLAUDS as Liszt unveils the statue of Beethoven. ANGLE ON the officials. FRENCH OFFICIAL #1 What about us? Isn’t he going to mention us? FRENCH OFFICIAL #2 I guess not. Dedication is over.

The French delegation gets up and leaves. 53.

47 INT. BONN HOTEL - NIGHT 47 Liszt is writing at his desk, as Lola Montez leans over him caressing his hair. LISZT (reading) My dearest Marie. The Hungarians are planning to award me with a sword of honor, and letters of nobility. ANGLE ON Lola as she keeps caressing him, with Liszt having difficulty writing. He stops and they kiss passionately. ANGLE ON Liszt and Lola in bed.

48 INT. HOTEL DE RUSSIE. BERLIN - NIGHT 48 Liszt arrives in Berlin with a cavalcade of carriages that stop in front of the hotel. As word of Liszt’s arrival spreads CROWDS arrive, some coming on foot, some in carriages. A group of STUDENTS carries torches, singing a song in front of the hotel. ANGLE ON Mendelssohn, Spontini and Meyerbeer who take turns greeting Liszt and his entourage. MEYEBEER (shaking his hands) Franz, what an honor welcoming you in Berlin. LISZT (hugging) Nothing like old friends from Paris, in Berlin. SPONTINI Everything’s prepared and ready for you. LISZT Thank you. I’ll see you there.

Liszt hurries to his quarters assisted by Lola, secretary GAETANO BELLONI (24) and a STAFF of three. 54.

49 INT. BERLIN. SINGAKADEMIE - NIGHT 49 FEMALE FANS are SCREAMING, some throwing flowers and jewelry on the stage, many gasping for air with excitement. ANGLE ON Bavarian beauty CHARLOTTE DE HAGN, (24) blonde, tall, with striking blue eyes as Liszt improvises on his Grandes Etudes de Paganini. As AUDIENCES APPLAUD Liszt’s superhuman performance Charlotte scribbles on her folding-fan and throws it on the stage. The folding-fan catches Liszt attention who picks it up, reads it and puts in his pocket. BACKSTAGE Liszt looks at the folding fan on which it’s written: “Dichter, was Liebe sei” and scribbles on it. He turns to Belloni. LISZT Gaetano, hand-deliver this immediately. BELLONI To whom? Liszt and Belloni step out on stage amidst the SCREAMS of RAGING FANS. ANGLE ON Charlotte in the front row. LISZT Right there! You see her? BELLONI I got it! Liszt performs his Hungarian Rhapsody No. 15 as an encore. ANGLE ON King of Prussia FREDERICK WILHELM IV (41) and the ROYAL FAMILY sitting in the box. Liszt bows to them and returns to the piano finishing with Hungarian March in E-flat minor. When he’s finished the Royal Family gets up in APPLAUSE.

50 INT. HOTEL DE RUSSIE - NIGHT 50 Franz and Charlotte are alone in the room. Seductive and sexy she’s wearing a short, blue-silk gown. 55.

CHARLOTTE You have completely demoralized me. I simply cannot stand looking at any other men, except you. No one can measure up in comparison. Liszt caresses her as they disrobe and make passionate love. ANGLE ON Liszt and Charlotte in bed. CHARLOTTE (CONT’D) I will be with you as long as you want me. LISZT (kissing her) You can keep me company all the way to Russia.

51 EXT. BERLIN - DAY 51 A carriage pulled by twelve elaborately decorated horses leads a procession of carriages. FELIX VON LICHNOWSKY, (35) an aide-de-camp sits on a white horse trotting next to Liszt’s carriage waving a ceremonial, saber-tooth scimitar. Throng of FANS is fighting to get a closer look at Liszt as escort of UNIFORMED STUDENTS leads the way. ANGLE ON Liszt and Charlotte inside the carriage with rolled down windows waving to the CROWDS.

52 EXT. GERMAN BORDER - DAY 52 BIRDVIEW SHOT of Liszt’s carriages as they cross the plains. MUSIC enters.

53 INT. LODZ THEATER. POLAND - DAY 53 Liszt is on stage performing his Transcendental Etude No. 12 in B-flat minor (Chasse-Neige). Charlotte sits in front row scribbling notes. 56.

54 APPLAUSE FROM AUDIENCE. 54 LISZT (standing by the piano) Meine dammen und herren. Permit me to announce my dedication of this next composition to my dear friend and a wonderful actress Fraulein Charlotte von Hagn whom we have the honor to have with us tonight. Liszt then plays Consolation No. 3 in D-flat major “Lento Placido”. MORE APPLAUSE as Charlotte walks on stage and hands Liszt bouquet of flowers.

55 EXT. RUSSIAN BORDER - DAY 55 Belloni opens the door to Liszt’s carriage and Charlotte and Liszt step out. CHARLOTTE (embracing Liszt) Goodbye my sweet friend. It’s the end of our journey. Be well. They kiss. LISZT You too... and keep writing inspiring me with your beautiful poems. CHARLOTTE (hugging him) I will.

56 INT. WINTER PALACE. ST. PETERSBURG - DAY 56 Liszt performs in front of CZAR NICHOLAS I (46) and his COURT sitting in a crowded room surrounded by crystal chandeliers and magnificent tapestry. The Czar keeps talking while Liszt is playing. Liszt stops, takes his hands off the keyboard and waits in silence, sitting. The Czar stops talking.

NICHOLAS I What’s the matter? Why have you stopped? 57.

LISZT Music herself should be silent when Nicholas speaks your Majesty. A MURMUR of voices ripples across the room as Liszt continues playing. BACKSTAGE Belloni paces back and forth. BELLONI Do you know what you’ve done? We could’ve all lost our heads. You don’t say this to Czar and Emperor of Russia. What were you thinking? LISZT Don’t worry. The Czar must have liked my playing because we’re still alive.

57 INT. ST. PETERSBURG. SALLE DE LA NOBLESSE - DAY 57 CROWDS gather in the presence of EMPRESS ALEXANDRA FEDOROVNA (32) and her royal family waiting in the box. Liszt, wearing the Order of Golden Spur struts along main aisle held by the arm of COUNT VIELGORSKI,(42). Chains and various other orders suspend from the lapels of his coat, his long, golden hair reaching far below his shoulders. As he enters on stage, he pulls his gloves off and tosses them carelessly on the floor. Auditorium turns to SILENCE as Liszt sits at the piano. He starts with Étude No. 4 in E major ("Arpeggio") then brilliantly improvises on Il Lamento and La Leggierezza from his Trois Etudes de Concert and finishes with his Transcendental Etude No. 5 in B-flat major (Feux Follets). When he stops the hall turns into pandemonium. Squadrons of people pour out from every direction, some falling, some running over one another. FANS jump over chairs rushing to get closer to Liszt. ANGLE ON

MUSIC CRITICS seem to have lost their senses. MUSIC CRITIC #1 I’m sorry, but I cannot collect my thoughts. It’s definitely God’s hand in the making. (MORE) 58. MUSIC CRITIC #1 (CONT'D) If I didn’t hear it I’d never believe this is the work of one man playing. As CROWDS pour in and out of the hall CAMERA MOVES to the street with people drinking, holding open bottles of vodka, with carriages picking up DIGNITARIES and their companions. ANGLE ON Belloni and Liszt in their carriage. BELLONI Maestro... Have you ever seen something like this? It’s the secret power of music. LISZT It’s where both rich and poor celebrate the triumph of human spirit.

58 INT. NOHANT- DAY 58 Chopin is at his study writing. He paces back and forth between the piano and the desk. RACHMANINOFF V.O. Whenever Chopin played it was as if an angel visited, and yes, Marquis de Custine was right, his performances were as he called them jouissance, beyond pleasure, spontaneous, miraculous and sublime. But capturing it on paper was a whole different story... ANGLE ON Chopin tearing up his work, banging his fists, then breaking down, weeping and crying. RACHMANINOFF V.O. (CONT’D) Then he started all over with unceasing perseverance of a true master, sometime spending six, or seven weeks on one page correcting it only to finish it exactly as he started. And Sand supported him entirely. She understood the throes of artistic creation like no one else, and she let him do whatever he wanted.

ANGLE ON SAND writing, buried in books. 59.

RACHMANINOFF V.O. (CONT’D) She wrote some sixty novels, plays, essays and other works, thousands of letters many exceeding fifty, or hundred pages long and she worked all night long, until dawn. Together, they made a great team. CUT TO Chopin at the piano with Sand. Sand gets up, walks to Chopin's piano and places her hands on the soundboard. SAND This is not love. It’s a release. (hitting the soundboard) A release... A cacophony of SOUNDS comes out from her hitting the soundboard with her fists. SAND (CONT’D) Play something, play real harmony, something that you know so well, to this piece of wood. Please. As Chopin strikes the keys and plays, deep, sweet and moving, romantic chords fill the room. SAND (CONT’D) This is making love. (banging the soundboard) Why can’t you do this for me? CUT TO Sand strolling alone near her residence. RACHMANINOFF V.O. At break of dawn, in the summer she would set aside her writing and walk down the river all alone, hang her clothes on a tree, and naked lie in pure-white sand with water up her chin, smoking, and looking at the reflection of the moon in the stream around her knees.

ANGLE ON Sand in the lake. RACHMANINOFF V.O. (CONT’D) Then she would go to bed and sleep til noon. Chopin was different. He was an early riser. (MORE) 60. RACHMANINOFF V.O. (CONT’D) At six o’clock he was up working, writing, and then working again sporadically throughout the day, then he would socialize a bit in the evening, retire early and go back to work next day. Years went by and when he was not writing music and she was not writing novels they would dine out together in the open. CUT TO Sand, Chopin, Maurice and Solange enjoying a picnic on the grass. RACHMANINOFF V.O. (CONT’D) Or they would stay at home, with friends who’d come in for dinner and talk, but mainly listen to music. ANGLE on Sand, Pauline, Marquis de Custine, Delacroix and Delfine sitting together in the living room. SAND Our little Chip-Chip always goes to bed at the same time with the children when I’m about to go to work. CUT TO Chopin leaving smoke-filled room full of friends, heading to retire.

59 EXT. CARRIAGE. PARIS - DAY 59 Liszt and Marie-Catherine are in their carriage with two of their children Cosima and Daniel. FRENCH NANNY watches over the kids. As carriage stops at Pleyel’s salon Liszt pulls out his music scores from leather case. LISZT Are you going inside? MARIE -CATHERINE I’m coming.

60 INT. SALON PLEYEL - DAY 60 ANGLE ON Pleyel Showroom. Camille Pleyel greets them. 61.

CAMILLE PLEYEL Well, hello Maestro. What brings you here at this early hour? LISZT I’m dropping off few of my compositions so you can give them to the publisher while I’m gone. I’m leaving tonight. CAMILLE PLEYEL Where to? LISZT Turkey... I have few concerts in Istanbul and then off to London, and then Russia again this time for a while. CAMILLE PLEYEL (looking at the scores) I’ll take care of it. How’re the pianos? LISZT I’ll need two more Bosendorfers and a Pleyel in about a month. He hands him a card. LISZT (CONT’D) Send them over there. Thank you Camille. (on his way out; pauses) And take care of Chopin while I’m gone, will you? CAMILLE PLEYEL (smiling) We certainly will. We all love him. ANGLE ON Marie-Pleyel who walks inside the showroom. She and Liszt exchange looks. LISZT That’s my biggest problem. I love him more than I can stand it. CUT TO inside the carriage. MARIE-CATHERINE Is Marie Pleyel a good performer? 62.

LISZT She certainly is... One of the best. MARIE-CATHERINE I’m sure you’d know that better than anyone else. LISZT What do you mean? MARIE-CATHERINE (crying) You have uncanny knack for wrecking people’s lives Franz. LISZT Or saving them. MARIE-CATHERINE On the contrary! Do you remember Chopin’s room? LISZT Of course... How could I not remember? It’d be hard to forget. MARIE-CATHERINE I hope you don’t think you helped me out of my marriage with Charles. I wanted out of that marriage, but you might have caused breakup of Marie with Pleyel if he finds out, and I’m quite certain he will soon enough. LISZT (kisses her hand) I apologize... MARIE-CATHERINE What about Vienna? Who’s apartment were you using there? LISZT I’m not sure if I follow you. MARIE-CATHERINE Eliza Gilbert, otherwise known as Lola Montez, or the Spanish dancer. I’m certain you know who she is... LISZT What about her? 63.

MARIE-CATHERINE Franz. You’re disrespecting our family... Daniel, Blandine and Cosima. You’re also disrespecting myself and our relationship. Liszt does not answer as they ride in silence.

61 INT. PARIS HOSPITAL. DR KOREFF’S CLINIC - DAY 61 Liszt is at the bedside of MARIE DUPLESIS, (23) a stunning, incredibly beautiful woman, dying of tuberculosis. MARIE DUPLESIS Please take me with you Franz. I won’t be any trouble to you. I’ll sleep all day. LISZT (kissing and caressing her hands) You know the entire Paris is in love with you. I am too, but I can’t take you on tour with me. You’re not going to survive the hardships of travel. You’re better off here in the clinic with doctor Koreff. MARIE DUPLESIS I don’t care. I won’t be a nuisance to you. In the evening you can let me go to your concert, and at night you can do whatever you like with me. Please, don’t let me stay here! Liszt is distressed, as he keeps kissing her. He is in love with her. This is both spiritual love, as well as physical attraction. LISZT I promise, as soon as you get better doctor Koreff will notify me and I’m taking you out of here. I promise, I’m taking you to Rome with me as planned. I’ve got to go now.

MARIE DUPLESIS (encouraged) You promised, remember. Goodbye my sweet prince, to life, to our life together and to our love. 64.

Liszt kisses her and leaves the clinic heartbroken.

62 EXT. LA CHENAIE - DAY 62 Garrulous gathering of WORSHIPPERS of different ages in a small, heavily crowded room. Father Lammenais leads the prayer. ANGLE ON Liszt Liszt who’s among them, kneeling, holding a bible, and a golden cross encrusted with diamonds. FATHER LAMMENAIS When you came here last time with Marie I advised you to stick to your instincts and to do away with all external stimulants such as money, fame and love affairs. Father Lammenais grabs a hold of Liszt’s arms. FATHER LAMMENAIS (CONT’D) And what did you do? You went right back to them. They walk over to his study. FATHER LAMMENAIS (CONT’D) The entire Universe is filled with consciousness, it’s alive, it knows its own time, its origin, its past and future and it’s filled with the spirit and creativity. You don’t really need any of the things you’re looking for in your life, certainly not to the degree that you depend on them as your moral support. LISZT I can’t help it. I love women, I love their intelligence, their beauty, love, sensitivity. I love everything about them. They are my audience. I play for them. Lammenais touches Liszt’s hair with affection. 65.

FATHER LAMMENAIS You may have a very beautiful body, and you do, a very beautiful, scintillating hair and you do, a beautiful, smiling face, you may have very powerful, radiant eyes and you do, a beautiful wife, rich and influential wife like Marie; a beautiful family, so beautiful that there’s no room for finding fault in anything in your life. He takes Liszt’s breviary from him. FATHER LAMMENAIS (CONT’D) And fame. In fact your fame has spread throughout the world, it transcended all directions. You may have abundance of wealth and more of it waiting for you the size of the tallest mountain in the Pyrenees. You may have all these things, but if your mind is not absorbed in truth, then it doesn’t matter whether you are alive or not, whether you exist, and whether you have a life or not. LISZT Father, I know. I’m trying as hard as I can. FATHER LAMMENAIS This world will deceive you. You think of this world as true just as you think that your dreams are true, and as long as you are asleep. LISZT (breaking down) I know Father... I’m not looking for life of recklessness and vanity. I’m trying to be a good person. Liszt kneels and kisses Father Lammenais’s hand.

63 INT. NOHANT – DAY 63 Sand and Chopin in their dining room having lunch. 66.

SAND What do you think of Liszt’s career? CHOPIN Perhaps I should ask you this question. SAND Being a genius and having a mind for business are two different things. Look at me. I’m writing all night, submitting my novels daily for publication to magazines making a living as writer and I know I’m not writing masterpieces. CHOPIN But you’re making a living. I’m not. SAND That’s my point. Pleyel has no clue how to play the piano, rien, nothing. He’s a big zero musically, but this year alone he sold ten thousand pianos. I make a living as a writer, and what you need to know is that music composition, and your genius does not mean that you have the same genius for everything else, especially for business. That’s why so many pianists starve in this town, because they don’t understand that talent for music and talent for business are separate things and that they both have to be mastered equally for their life to equal success. You have never done that, and I’m not blaming you, but Liszt has mastered both, perhaps one better than the other to some degree. CHOPIN I understand. SAND Would you like more coffee? CHOPIN No, thank you. 67.

64 EXT. ISLE OF NONNENWERTH - DAY 64 A schooner crosses Rhine river pulling a mid-size barge with two pianos, loads of furniture and personal belongings. ANGLE ON Liszt and Marie on board of the schooner. LISZT Roland in Song of Roland has died on this island. It has a cabin and a lovely inn converted from old monastery. As small sail boats pass the schooner Liszt and Marie- Catherine wave to sailors.

65 INT. ISLE OF NONENWERTH CABIN - NIGHT 65 Liszt is at the piano writing, Marie-Catherine is reading. Children are playing. Candlelight atmosphere. MUSIC ENTERS as Liszt plays few notes from “Die Zelle in Nonenwerth” a deep, moving piece. MARIE-CATHERINE Whatever happened to the work you were writing with Pixis, Herz, Czerny, Thalberg and Chopin? LISZT Nothing happened since the duel with Thalberg, but I can now complete it without hurry. He makes a correction on the score. LISZT (CONT’D) Chopin wrote a beautiful part. I wrote one too. (sighs) Perhaps one day we will perform it together. MARIE-CATHERINE That would be great. I would love to hear the whole piece as it was intended.

LISZT I hear Chopin dedicated to you second set of his etudes. 68.

MARIE-CATHERINE He did... (pause) Have you dedicated any of your works to Marie Duplesis, or Dame aux Camelias as everyone in Paris calls her now? LISZT (keeps writing) I don’t call her that. Dumas is writing a book about her. Poor girl is dying, and I would love to help her. MARIE-CATHERINE Helping someone and being in love with them are two different things. Are you in love with her? LISZT I must admit I have been a little bit infatuated by her. MARIE-CATHERINE (annoyed) You’re in love with all women don’t you? Marie Duplesis, Charlotte von Hagn, Marie Pleyel. Don’t you think I know who you’ve been travelling with? Since that fateful day when Caroline de Saint-Cricq’s father has showed you the door you can never settle on one woman can you? LISZT I love you very much Marie and I love our kids, but I am also attracted to other women. I’m not looking for relationships, but somehow I get caught up in them. I can’t help it. Marie Duplesis and I have made plans to go to Rome together when she gets better. MARIE-CATHERINE (shocked) You will go to Rome with her? For what? Liszt stops working and sits next to Marie-Catherine. 69.

LISZT Look! Sand never says anything to Chopin who has all kinds of liaisons, the latest with the Swedish soprano Jenny Lind. MARIE-CATHERINE The Swedish nightingale? She’s terrific. LISZT She’s in love with Chopin and they had a secret meeting together. MARIE-CATHERINE I guess it’s not a secret if you know it. Does Sand also know about this? LISZT No one knows about it except me, and yourself now, and I beseech you to keep it entirely to yourself. MARIE-CATHERINE You just answered your question Franz. If Sand knew the details of Jenny Lind’s liaison with Chopin she would end their relationship. MARIE-CATHERINE (CONT’D) (thinking) Remember that beautiful portrait of you that Ingres painted and inscribed to me? She picks up the portrait and hands it over to him. MARIE-CATHERINE (CONT’D) You can have it back. I am leaving you. (pause) Take care of the kids Franz. Daniel is two-years old. She leaves the room. Liszt is in shock.

66 INT. CHOPIN’S RESIDENCE. SQUARE D’ORLEANS - DAY 66 A middle-aged man with grey hair, JOSEPH BRZOWSKI (47) arrives at Chopin’s residence carrying letters from his parents. 70.

Chopin opens the door and greets him. CHOPIN (enthusiastic) What a surprise? The one and only Joseph all the way from Poland. They hug gingerly. Brzowski hands him a packet and proceeds to unwrap other presents. BRZOWSKI On top is a letter from your Dad, on the bottom are letters from your Mother, and in the middle are letters from your sisters. CHOPIN (holding a letter) Joseph, my father’s writing, are you ready to hear this. You have no idea how lucky you are, he says. There are plenty of piano teachers giving lessons here, and you would not find anything that would meet your expectations. At last you have found the conditions and the environment to build on and to cultivate your art. We are all very happy for you. He puts down the letter. CHOPIN (CONT’D) I am in such a good mood. Come Joseph and see my student, a great looking countess. Brzowski follows Chopin to study room where they encounter Chopin’s STUDENT (15) sitting at the piano next to her governess. Upon seeing them enter the room the girl hurries to her governess and they prepare to leave. BRZOWSKI I see... She’s very pretty indeed. (whispering) I have more for you.

He hands him a hand-crafted medal of Mozart, and more letters from his friends. 71.

CHOPIN (holding a letter) Young and beautiful she is. What a pleasure setting those fingers. She has a lot of musical sensibility. I don’t have to tell her piano here, crescendo here, play slower here. Chopin puts down the package on his desk. CHOPIN (CONT’D) C’mon Joseph. Let’s have some coffee and some good Parisian pastry. As Franchomme, the cellist arrives with several FRIENDS everyone is in a jovial mood and Chopin gives them recital.

67 INT. ANNA LISZT APARTMENT. RUE DE MONTHOLON - DAY 67 Anna Liszt holding a letter. LISZT V.O. Mother. Enclosed is a bank voucher for two hundred thousand francs. Marie and I and are separated. This should be more than enough to take care of the children for as long as they need. See that Blandine gets a tutor and Cosima gets good literary education. I will help Daniel with his music. Your loving son. CU on Anna’s hands putting down the letter.

68 EXT. FAUBOURG SAINT-HONORE - DAY 68 Sand and Marie stroll on rue du Faubourg Saint-Honoré passing in front of hotel Le Bristol. They look very fashionable. SAND Count Jules de Castallane invited me to the Venetian ball he’s giving this weekend. Are you coming? MARIE-CATHERINE Most definitely. I was invited as well. SAND With Franz? 72.

MARIE-CATHERINE No. Franz and I are no longer together. We broke up. SAND I’m sorry to hear that. MARIE-CATHERINE I finally realized who I was dealing with. Sand and Marie-Catherine walk in to lavish, magical setting of Hotel Le Bristol. SAND What do you mean? MARIE-CATHERINE I finally realized that Franz is a user, a mountebank who’s only interested in himself, and in the bewildered public adoring him with his idea of génie oblige. There’s no room for us in Franz’s life, or for any woman. SAND (ironic) It’s the same with Chopin. I don’t think he has room for anyone, or anything else except his work.

69 INT. HOTEL LE BRISTOL - NIGHT 69 Venetian ball. Fairy-tale like atmosphere of COUNT JULES DE CASTELLANE’s (37) famous theater. GUESTS wear elaborate masks in keeping with the theme of the ball. Turkish dancers, sword swallowers and jugglers mix with the elite of Paris. CAMERA SPOTS Wagner, L’Escudier, Rossini, Mendelssohn, Schumann, Paganini, Pleyel and his wife, Jenny Lind, George Sand and Chopin. ANGLE ON KING LOUIS PHILIPPE (62) and COURT ATTENDANTS surrounding the king wearing colorful masks.

King Louis Philippe approaches Liszt, Chopin and Mendelssohn. 73.

KING LOUIS PHILIPPE It would do us great pleasure to invite you all to perform for our court in Versailles. ANGLE ON MASKED GUESTS dancing simplified quadrille. CASTELLANE And now, a special appearance by Monsieur Frederic Chopin who will present to us his famous, exquisite jeu perlé technique which makes the piano sound as if pearls were falling from keyboard. MASKED GUEST #1 Chopin is the best that happened in music since Bach and Mozart. LISZT (turning around) Who said that? A man in the mask comes up to Liszt and as he moves it slightly we realize it’s Nicolo Paganini. PAGANINI I did... ANGLE ON Chopin and Jenny Lind. MASKED GUEST #1 Monsieur Chopin. What constitutes a true masterpiece? CHOPIN We’re fortunate no such answer exists. The crowd laughs. Liszt gets on stage immediately drawing everyone’s attention. LISZT Madames et monsieurs. It’s an honor to announce the greatest living violin virtuoso Monsieur Nicolo Paganini.

ANGLE ON Paganini who begins to improvise and finishes with a marvelous coda. AUDIENCE explodes with enthusiasm. GYPSY DANCERS and sword swallowers enter stage. 74.

ANGLE ON Liszt. LISZT (CONT’D) I wrote a book called the Tziganes and their music in Hungary. SAND The Romanis celebrate life, mourn death and understand pain and pleasure differently from us, perhaps because they understand it better.

70 EXT. VERSAILLES - DAY 70 Liszt, Mendelssohn and Chopin walk side-by-side with the King and his entourage. CAMERA MOVES across the courtyard with the lake with the glimmering fountains in the b.g. COURT ANNOUNER steps out in front of the King. COURT ANNOUNCER Madames et Monsieurs, His Majesty King Louis Philippe, Duc D’Orleans, King of France. MUUSIC enters. COURT ANNOUNCER (CONT’D) Your Majesty! It is my honor to present Messiers Franz Liszt, Felix Mendelssohn-Bartholdy and Frederic Chopin. Liszt, Mendelssohn and Chopin bow in front of the king. KING LOUIS PHILIPPE (to Liszt; cordial) Do you remember when you played at my house as a little boy? (pause) Things have greatly changed since then. LISZT Yes... Your Majesty, but not for the better.

The King proceeds to walk with his entourage. KING LOUIS PHILIPPE Follow me my friends. 75.

CAMERA MOVES TO the golden door of Hall of Mirrors and opens as MUSIC of Mendelssohn’s ANDANTE from MIDSUMMER NIGHT’S DREAM enters SOUNDTRACK while court procession follows the king with Liszt, Mendelssohn and Chopin on king’s side. Behind them is Belloni followed by COURT ATTENDANTS, Sand and Mendelssohn’s fiance CECILE JEANRENAUD, (24) very beautiful, following them. Mendelssohn’s MUSIC continues as the King and his entourage pass a string of chambers and salons. ANGLE ON Chopin who enters and stage and plays Etude No. 5 in G-flat major (Black Key), and then a beautiful Prelude No. 22 in G minor, Op.28. CUT TO Sand and Marie sitting near the king as Chopin plays. SAND Baudelaire who de facto despises me has said that the music of Chopin is like a magnificent bird hovering among the nameless abyss. MARIE-CATHERINE It’s true... I’m a great admirer of Chopin. You can actually visualize a gigantic beautiful bird hovering over the city of Paris when you hear this etude. As Chopin finishes playing the King and his Court APPLAUD with everyone standing up in ovation. KING LOUIS PHILIPPE And now Monsieur Liszt we’d like to hear the Mephisto Waltz. Liszt sits at the piano and performs Mephisto Waltz No. 4. When he’s finished amazed AUDIENCE erupts in APPLAUSE.

71 INT. CHOPIN’S RESIDENCE. SQUARE D’ORLEANS - DAY 71 Chopin is at his desk writing. He gets up, walks over to the piano, then back to his desk, signs a set of compositions and seals them in an envelope. CHOPIN Joseph. 76.

Door opens as Brzowski walks in. CHOPIN (CONT’D) If it wouldn’t trouble Joseph to see Fontana and ask him to bring me three hats from Dupont, as usual and Dautrement to prepare a new wardrobe for me tonight to be picked up this afternoon, with a pair of dark-grey winter trousers, no stripes, close fitting and a black, velvet waistcoat with light, checkered pattern. BRZOWSKI Well done Sir. CHOPIN Lady Jane Stirling and her sister Lady Erskine are coming from London to visit. They will be dining with us tonight.

72 INT. BUCKINGHAM PALACE - DAY 72 QUEEN VICTORIA, (18), Queen’s mother DUCHESS OF KENT, (51) COUNT D'ORSAY (36) and COUNTESS MARGUERITE GARDINER (LADY) BLESSINGTON (47) are present. Several members of the House of Lords are also present. Count D’Orsay bows in front of the Queen. COUNT D’ORSAY Your Majesty! A giant, a tiger tamer, a new Niagara, a winged being unclassed in the science of ornithology by whom our obdurate human faculties are roused into realization that miracles do exist. He strolls in front of the Queen and the guests. COUNT D’ORSAY (CONT’D) Monsieur Liszt is the Polyphemous of the piano, Aurora Borealis of refulgence, Niagara of thundering harmonics with such rapidity of execution, power, exquisite delicacy and extraordinary volume of sounds he wrestles from this instrument we call pianoforte that we can only address as superhuman. 77.

APPLAUSE as Liszt walks up to the piano and bows. He warms up with Etude No. 7 in E-flat major (Eroica) his hands gliding over the keyboard playing precisely, fast and beautiful. Liszt then changes to Etude No. 4 in D-minor (Mazeppa), very expressive and technical. When he takes his hands off the keyboard, the Queen is the first to respond and starts clapping. THE QUEEN Marvelous... Marvelous! Liszt gets up, smiles and bows to the Queen. LISZT My music is more than marvelous Your Majesty. It’s the road to heaven. It opens the gates to Infinity. The Queen and Duchess of Kent exchange looks. DUCHESS OF KENT Haven’t you performed for me fourteen years ago? At Carlton House in front of his Majesty George IV with her Majesty the Queen also present? THE QUEEN I have no memory of this young man performing for me. LISZT (undaunted) If my precious vanity doesn’t fault me, your Majesty has not been hurt in the least that your Majesty does not recall this worthy event. If I correctly remember your Majesty was then eight years old. The Queen laughs. THE QUEEN Oh, I was indeed! And how old were you?

LISZT Fifteen... Your Majesty. 78.

The Queen laughs again. Liszt walks around, then comes between the queen and the duchess, leaving one of his gloves on the piano. It is a very sexy and charismatic walk. The Queen is uneasy fighting off her emotions. LISZT (CONT’D) The concert is me your Majesty! Le concert, c’est moi... I invented it. He continues to walk very vainly, which has a compounding effect on both the Queen and Lady Blessington. He then gets back to his piano and plays Étude No. 5 in E major (La Chasse) based on Paganini's Caprice #9. Liszt stands on one foot while playing a thunder of free- flowing arpeggios and chromatic passages with other foot keeping up the rhythm. The Queen and the Lords are astounded. They jump to their feet while Liszt is at Queen's side kissing her hand. She gives him her glove as souvenir. As he exits they look at each other in silence. The queen gasps for air. ANGLE ON Queen Victoria as she takes the glove he left on the piano and holds it to her heart while looking at the door he exited in bewilderment.

73 EXT. RUSSIA’S BORDER - DAY 73 BIRDVIEW SHOT of Liszt’s long procession of carriages as they speed across vast, desolate landscape.

74 INT. UKRAINE. KIEV'S GRAIN FARMERS MARKET - DAY 74 A makeshift office amidst the sea of carriages with FARMERS selling wheat. NOISY and CROWDED. A black and gold carriage comes to stop. PRINCESS CAROLYNE zu SAYN-WITTGENSTEIN, (26) tall, beautiful, steps out of her carriage and looks at a handwritten poster on the wall.

CU of POSTER - FRANZ LISZT CONCERT, CONTRACT HALL February 24, and KIEV UNIVERSITY February 26-27, Anno Domini 1847, both performances at 8:30 in the evening. 79.

She gets back to the carriage as COACHMAN makes his way out of the market.

75 INT. KIEV. CONTRACT HALL - NIGHT 75 CROWDS gather as Liszt is about to give his first concert in these parts of Russia. ANGLE ON Carolyne holding the program with AUDIENCE anxiously waiting to see Liszt enter the stage. ANGLE ON LISZT at the piano beginning his set with his Transcendental Étude No. 3 in G-sharp minor (La Campanella).

76 EXT. CHATEAU WORONICE - DAY 76 Carolyne gallops on white Arab horse in the forest of magnificent oak trees. She wears long leather pants and coat protecting her from the bushes. At the edge of the forest she jumps over several obstacles and sprints across the meadow.

77 INT. KIEV CATHEDRAL - DAY 77 Liszt is at enormous organ improvising on Bach’s Chaconne in D-minor repeatedly pulling out the registers of the pipes. ANGLE ON ushers collecting donations. APPLAUSE echoes throughout the cathedral. CU of Liszt as he looks at the list of donations. LISZT A hundred rubles! Who donated hundred rubles? I demand to know the identity of this person. CATHEDRAL PRIEST Sir... The benefactress is Princess Carolyne zu Sayn-Wittgenstein. LISZT A hundred rubles.

Carolyne appears behind the stalls. CAROLYNE That’s right Monsieur Liszt. The artists are not the only ones with compassion for noble causes. 80.

LISZT (kissing her hand) The honor is all mine. CAROLYNE I have seen all your concerts and before you leave town I would like to convey a wish of a ten-year old who begged me to do this for her. LISZT My curiosity’s peeked. CAROLYNE This little girl would like to invite you to her birthday party. LISZT And the identity of the girl? CAROLYNE Princess Marie. My daughter.

78 EXT. CHATEAU WORONICE - DAY 78 Carolyne’s black and gold carriage paces across vast estates of Chateau Woronice, passing the gardens connected to a network of elaborate canals cutting into infinite horizon of plains ahead. ANGLE ON SERFS working the fields. Liszt and Carolyne stop the carriage in front of the chateau and walk inside as CAMERA FOLLOWS elaborately furnished rooms, each separately designed with oak, pine, willow and mahogany. There are individual libraries dedicated to Plato, Aristotle, Dante and Goethe and separate music-rooms dedicated to the work of Bach, Mozart and the world of Opera. There’s also the main library with enough books to compete with Library of Alexandria. SERVANTS are everywhere cleaning, cooking, moving furniture. CAROLYNE Come Franz... Let me show you the stables. 81.

79 EXT. WORONICE STABLES - DAY 79 As Carolyne and Liszt enter the stables VIEW FOCUSES on stalls replete with Arab stallions. She walks to magnificent looking stallion, pulls him out and hands the reins over to Liszt. CAROLYNE Let’s ride him. I’ll follow you. LISZT (taking the reins) With pleasure. CUT TO: Liszt and Carolyne sprint across the estates, laughing and enjoying each other’s company. ANGLE ON Carolyn and Liszt as they come to stop at the stables. CAROLYNE My father’s spirit must be living in you. No one ever rode horses the way you do, except my father. CAROLYNE (CONT’D) I feel like I’ve known you all my life. I want you to meet my daughter. PRINCESS MARIE zu SAYN WITTGENSTEIN, (10) and very beautiful enters the stables. CAROLYNE (CONT’D) Franz... This is my daughter Princess Marie, but we call her Magnolette. LISZT (smiles) Enchantée, mademoiselle. Liszt picks her up and rides inside the stables with her. They are friends forever.

80 INT. CHATEAU WORONICE - NIGHT 80 Princess Marie’s birthday. TRAMPOLINE JUMPERS try their stunts above a sea of torches. SERVANTS sing and play balalaikas as CAMERA MOVES across to the camp fire. 82.

CAROLYNE (jovial) Franz, stay with us for the winter. You can work here, concentrate on your writing, and take a break from your tour. You will find true family with us. Liszt understands. PRINCESS MARIE (protesting) My mom has a husband already. CAROLYNE I know, I know Magnolette. Monsieur Liszt is a friend. Besides, your father wouldn’t mind a worthy companion for you while he’s away. LISZT I have been thinking of slowing down and work on my music compositions. CAROLYNE Stay with us at least for the winter. Nothing will be spared to help you achieve your noble goals. Liszt nods in agreement.

81 INT. AUGUSTE CLESINGER STUDIO - DAY 81 AUGUSTE CLESINGER,(32) prepares a life-size cast for his next sculpture. A semi-nude model APPOLLONIE SABATIER (23) is posing. Sand and Solange are attending the session. CLESINGER After producing Via Dolorosa, Pieta, the Entombment, the Resurrection and the Ascension at Saint Mary Magdalene’s in Besançon I’d like to do something different now. This time it will be a nude. SAND What is it called? CLESINGER It’s called a woman bitten by a snake. (MORE) 83. CLESINGER (CONT'D) (to the model) Appollonie. Don’t move. SAND Quite an apt title. Aren’t all women bitten by serpents. SOLANGE Mom... Both, Sand and Solange are attracted to the artist. CLESINGER I hear you’re both friends with Chopin. SOLANGE We are! He lives with us. SAND (smiling) Sometimes. CLESINGER He’s such an elusive artist, and yet the whole Paris adores him and wants to hear him. SOLANGE Have you heard him play? CLESINGER No, but I would love to. SOLANGE If you have not heard him, you cannot even know what his music is like. Under his quick and responsive fingers and his pale and frail hand the piano becomes the voice of an archangel, an orchestra, an army, a raging ocean, a creation of the universe, the end of the world. This is what you’re experiencing when you listen to him. What divine majesty, what elemental forces, cries of love and despair, triumphant hymns, suave grace, angelical tenderness, infinite sorrows, funeral marches and triumphal processions. (MORE) 84. SOLANGE (CONT'D) What rays of sunlight and flowers in full bloom, the glittering rivers and valleys of scented lemons and trees, tears of agony from the depths of damp cloisters, impatient whining of war-horses, duels of knights and villages of courtly dances, minuets interrupted by the jingling of arms and canons of citadels, and the melancholy raindrops of falling in love, one- by-one on the tiles of the garden of love. This is the music of Chopin. SAND You should come and meet him. Clesinger stops working. CLESINGER I will... (to the model) Appolonie, you can dress now.

82 INT. PARIS. SOLANGE RESIDENCE - DAY 82 Enormous bouquet of roses arrives at Solange’s room. ANGLE ON a note: “To Chopin, to us and to love. Signed AUGUSTE CLESINGER”. SOLANGE takes the card and places it on her heart.

83 INT. CHOPIN’S RESIDENCE. SQUARE D’ORLEANS - DAY 83 Chopin is at his desk as Brzowski announces the arrival of a friend. BRZOWSKI Monsieur Moscheles is at the door Sir. Chopin gets up and greets his guest. CHOPIN Monsieur Moscheles. What an honor. What brings you to me? They warmly shakes hands. 85.

MOSCHELES (enthusiastic) I’ve been playing your most recent compositions and I must say they are extremely difficult to perform even for a virtuoso. However, I now fully understand the great fascination and reception that your music receives from the ladies. CHOPIN (incredulous) And why do you think this is? MOSCHELES It’s because your music forces one to listen with one’s entire soul. I’m utterly fascinated by it. The instrument disappears. It’s like a singer who’s completely oblivious to accompaniment and who lets himself be carried away entirely by his or her emotions. (pause) I’m in the process of writing a piano method with Fetis, and I would love to commission you to contribute to this work. It’s called the methods of methods. CHOPIN Fine... How about this? Chopin plays a procession of amazing counterpoint progressions. CHOPIN (CONT’D) That’s the key to learnings chords and harmony, Bach. Moscheles is ecstatic. MOSCHELES I totally agree. Unfortunately, many pianists are not able to understand Bach the way you do. Perhaps something simpler would suit them better, especially younger performers. 86.

CHOPIN I agree. Bach is not for everyone. For my students I often recommend Diabelli, or even Czerny. Liszt warms up to Czerny’s etudes. MOSCHELES He does? That’s incredible. So, you’re going to work with me on this method? CHOPIN (smiles) I will. With pleasure my dear friend.

84 INT. PARIS. NOTARY OFFICE - DAY 84 Sand and Solange are at the Notary’s office to make arrangements for Solange’s upcoming marriage to FERNAND PREAULX. There’s tension between them. The NOTARY is filling out paperwork. SOLANGE Mother... I’m not marrying Fernand. I am engaged to Auguste. SAND Clesinger. Good God! Do you know what you have done? Fernand is from a wealthy Berry family. Clesinger is an alcoholic, heavily in debt, a notorious gambler and women abuser. SOLANGE Mother! I love him. You must let me marry Clesinger. SAND All right, but under one condition, that you both get a job that provides decent income for both of you. The Notary seems amused.

NOTARY Madam... Should I annul the marital papers then? SAND Yes. 87.

SOLANGE (kissing Sand) Thank you Mother. Solange runs out of the office.

85 INT. PARIS. HOTEL DE JUSTICE - NIGHT 85 An exploding canon ball rips the belly of a horse. PROTESTERS carrying French flags with signs "Death to the Party" and “Down with the King” storm the streets along Rue St. Honore and Place Vendome. CUIRASSIERS with swords in their hands charge over the barricades among the dead and wounded crying for help. DEPUTY COURTAIS (32) in charge of the National Guard issues orders to SHOOT. Bodies fall. As more PROTESTERS pour out on the boulevards stones fly, window panes shutter. PROTESTER #1 To arms! We’ve been betrayed. They’re slaughtering us, hundreds of people have been killed at Hôtel des Capucines. Vengeance! PROTESTER #2 Down with the King! Épater la bourgeoisie. Épater le bourgeois! Torches and gas bombs fly. Corpses are loaded on the carts. More CROWDS appearing with pikes and torches throwing them at National Guard, some tending to the wounded. Paris is burning.

86 INT. NOHANT. SAND’S RESIDENCE - NIGHT 86 George, Delacroix, Marquis de Custine, Chopin, Maurice and Solange are sitting to dinner. Pauline-Garcia Viardot and Louis Viardot are also there. SAND I cannot believe in any republic that starts a revolution by killing its own proletariat.

LOUIS VIARDOT The only way we can guarantee the existence of workmen is give them work, or at least provide them with the opportunity to find work. 88.

SAND Art is the only thing that can unite people separated by their diversities and the harsh realities of life. Sand pauses. SAND (CONT’D) Shall we move to the salon? ANGLE ON Marquis de Custine standing near the piano as Chopin plays Étude C-sharp minor No. 7 Op. 25. MARQUIS DE CUSTINE The strength of your compositions penetrates deep into one’s heart. You seem to be alone in the crowd. When you play it’s not the piano that speaks, but your soul. The Viardots, Sand, Maurice and Solange come near the piano to hear Chopin play.

87 INT. PARIS. DELACROIX STUDIO - DAY 87 Chopin strolls with Delacroix in his studio admiring his works. They are among alleys of paintings and sculptures. CHOPIN Everything is so massive, real, full of life, yet frozen in time. DELACROIX (self confident) I don’t leave anything unsaid in my work. How about you? CHOPIN I indicate. It’s up to the listener to complete the picture. Delacroix looks on in bewilderment.

88 INT. NOHANT. SAND’S RESIDENCE - DAY 88 Solange, very pregnant walks in with Clesinger to Sand’s study. 89.

SOLANGE Mother... We need money. August and I are moving to Paris. SAND Out of question. You’re not even married, and your wedding date is weeks away. SOLANGE But mother, we want to leave. We don’t want a wedding. Auguste has found a job at the Louvre. we need two thousands francs. SAND No. Did you hear me? I said, no. Out of question! Now, please leave my room. CLESINGER (angry) But why are you so defensive about it. Why can’t you grant her wish? Maurice intervenes. MAURICE Why can’t you leave? Did you hear what my mother said? Leave. CLESINGER Don’t boss me around. What’s in it for you? Maurice grabs Clesinger’s arm. MAURICE Leave now, I said. They begin to struggle. SAND Stop! Please STOP. Maurice reaches for a pistol on the wall. Solange gets between Maurice and Clesinger while Sand jumps from behind her desk and gets between Solange and Maurice. Maurice fires the pistol and misses. Solange shrieks. Sand goes into rage. 90.

SAND (CONT’D) Get out of my house now!!! Clesinger and Solange leave in a hurry.

89 INT. BERRY PROVINCE. VILLAGE OF BLOIS - DAY 89 Solange and Clesinger are in a small room. Solange is writing a letter. It’s rainy. SOLANGE (reading aloud) My dear Frederic. You must help me now. I’m very sick and my mother threw me out of our house because she wants to sleep with you know whom. Victor Borie has been in our house several times already, and I suppose this is the time when they want to be alone. I need your carriage to get back to Paris. I’m in Blois. CLESINGER Good God! This will get us to Paris. ANGLE ON Chopin reading a letter. CHOPIN Joseph... Go to Fontana and ask him to take my carriage to Blois with this letter immediately. Hurry! BRZOWSKI Yes, Sir. Brzowski leaves.

90 INT. INN IN THE VILLAGE OF BLOIS - NIGHT 90 JULIUS FONTANA (32) arrives at the village of Blois. Solange and Clesinger are already waiting for him. They load up their luggage and take off.

91 INT. NOHANT. SAND’S RESIDENCE - DAY 91 Sand is at her desk, writing. 91.

SAND V.O. You’re asking me to take care of my sick daughter? I have no words except to say goodbye to our acquaintance forever. She tears up the letter in tears, bangs her fist against the desk and starts writing again.

92 INT. CHOPIN’S RESIDENCE - NIGHT 92 A door bell awakens Chopin as COURIER delivers a letter to him. He opens it and reads with sad expression on his face.

93 INT. CALAIS HARBOR - DAY 93 A ferry boat stands by ready for departure. PASSENGERS rush back and forth as Fontana drives the carriage in front of the terminal and stops. It’s a foggy day. Fontana steps down, opens the door and Chopin steps down. They hug, shake hands and Chopin steps on the boat. ANGLE ON The ferry boat crossing English Channel.

94 EXT. FOLKESTONE. ENGLAND - DAY 94 A two-horse English carriage with JANE STIRLING, (44) tall, with dark hair and her sister LADY KATHERINE ERSKINE (49) thin, pale, wearing black and both holding flowers. Chopin steps down from the ferryboat carrying a suitcase and small leather bag. Jane Stirling and Lady Erskine hand him flowers. SERVANT takes the suitcase from him and loads it onto the carriage. The carriage swiftly takes off. ANGLE ON Chopin, Jane Stirling and Lady Erskine. LADY ERSKINE Our hope is to keep you busy in London and provide you with enough students and concerts to cheer you up. JANE STIRLING We’ve arranged for an apartment for you on Bentinck street. (MORE) 92. JANE STIRLING (CONT'D) Everyone is very excited about you coming to London. You’re already a big celebrity here. CHOPIN I haven’t had any income from either teaching, performing, or composing in a long time. This shortage of money is completely controlling me. JANE STIRLING We’ve opened an account in your name at Coutts bank at the Strand. We’re making sure that you have all you need. Our dear friend Henry Broadwood is already working on finding the right venue for you.

95 INT. CHOPIN’S RESIDENCE. DOVER STREET - DAY 95 HENRY BROADWOOD, (39) looks at Chopin’s three pianos with great interest. There are Pleyel, Érard and his own Broadwood concert grand. BROADWOOD What happened to your residence on Bentinck that Jane Stirling and Lady Erskine have found for you? CHOPIN Bentinck street apartment was too expensive. London is not for my means. I couldn’t carry the burden of paying twenty guineas in rent. This is one is only ten guineas. BROADWOOD You could’ve stayed at the Sablonniere on Cranbourne and Leicester, but this is good enough. You’ve got three pianos, your favorite brand of chocolate, two beautiful, entirely dedicated to you dames and you’ve got me. Chopin smiles.

BROADWOOD (CONT’D) I’ve also got two concert dates for you, one at Mrs. Sartori’s on Eaton Place, and the other at Lord Falmouth’s on St. James’s Square. (MORE) 93. BROADWOOD (CONT’D) Those two should net you minimum two to three hundred pounds a piece. I’m also certain that you’ll have more students and more appearances you can handle. London is one of those cities where the wheels never stop turning.

96 INT. GORE HOUSE KENSINGTON (ALBERT HALL) - DAY 96 Lady Blessington and her husband Count D’Orsay entertain GUESTS at their famous residence. ANGLE ON Jane Stirling, Lady Erksine and Chopin sitting near Lady Blessington. JANE STIRLING Monsieur Chopin is quite impressed with your distinguished house Madam. LADY BLESSINGTON You know for many years this house has been the center for arts, literature, learning, science and fashion. Disraeli was here and he wrote his famous novel Venetia in this house. Many people didn’t like his views on industrialization in his book, and of course I wrote my Conversations with Lord Byron after Alfred and I met Byron in Genoa. ANGLE ON Pleyel piano in center of the salon as Chopin enters the stage. GUESTS are fascinated by his presence. Chopin sits at the piano and plays Étude No. 12 in C minor, (Revolutionary), and then proceeds with Scherzo No. 4 in E major Op. 54 and a Polonaise (Heroic) in A-flat major Op. 53. His playing makes huge impression on the listeners. LADY BLESSINGTON (CONT’D) Bravo! Bravo! You’re a true artist. Monsieur Chopin, we can’t be more grateful for this rare opportunity to hear you perform at our home. She pauses. 94.

LADY BLESSINGTON (CONT’D) Liszt was here a few years ago and he made quite a furor in London. There’s a gossip going around that he made the queen kiss his hand. I’m sure it’s not true and the Queen won’t ever discuss that, but that’s the rumour. It’s an honor to receive you with us in London, although we’re going back to Paris shortly, and I’m sure we’ll be seeing you there more often. Chopin looks at Jane Stirling and Lady Erkine who exchange smiles.

97 INT. STAFFORD/LANCASTER HOUSE. WEST END LONDON - DAY 97 A banquet at HARRIET LEVESON-GOWER DUCHESS OF SUTHERLAND’s (38) house. QUEEN VICTORIA, (29) and her husband PRINCE ALBERT (29) are present. CAMERA SCANS the impressive, impeccable grandeur of Duchess Sutherland’s Victorian residence and FOCUSES on PRINCESS LOUISE (1) along with some eighty GUESTS, mostly nobility, as well as Chopin, Jane Stirling and Lady Erskine. JANE STIRLING (to Chopin) The Duchess is a very good friend of the Queen. She also brought Garibaldi to London in support of the Italian cause and she is very active in the abolition of American slavery. Tonight, you are her guest of honor. DUCHESS OF SUTHERLAND Monsieur Chopin! Excuse us all the clamor and the noise, but tonight we have a christening of Princess Louise. JANE STIRLING Not at all. We’re honored to witness such historic moment.

DUCHESS OF SUTHERLAND (nods to Chopin) You can begin any time. ANGLE ON 95.

Chopin playing Polonaise-Fantaisie in A-flat major Op. 61 as Prince Albert gets up from the table, walks over to him and watches Chopin’s hands gliding over the keyboard. PRINCE ALBERT Splendid! Very impressive even for an amateur player as myself. Chopin and Prince Albert returns to the dinner table. JANE STIRLING (excited) It’s quite rare what just happened here. CUT TO Prince Albert raising a toast. PRINCE ALBERT To our distinguished guest of honor, Monsieur Frederic Chopin. (pause) Monsieur Chopin... You’re the Orpheus of the piano, the enchanter of music in the most difficult and exquisite form. Duchess of Sutherland raises the glass with the Queen. JANE STIRLING You won’t find Prince Albert doing this for anybody. Even Liszt could not accomplish this. LUIGI LABLACHE (37) enters the stage and sings an aria from Don Giovanni. CHOPIN Are we going to be invited to the house of Windsor? JANE STIRLING (laughing) I doubt it. Because of the developments in Paris they’re on edge. The entire French government or whatever’s left of it is in London. King Louis Philippe himself is in Isle of Wight, but the queen spoke with you twice and they raised a toast in your honor. It’s extremely rare for them to do this. 96.

98 EXT. ODESSA SEAPORT - DAY 98 Russian ship “Peter The Great” moors into the seaport of Odessa. At the peer stands Carolyne and her husband PRINCE NICHOLAS von SAYN-WITTGENSTEIN (42) awaiting his arrival. LISZT (hugging and kissing Carolyne) Going across Black Sea from Turkey is quite enough to give one a headache. Liszt and Prince Nicholas exchange greetings. PRINCE NICHOLAS Finally, you’ve made it. We were worried the ship would never arrive. CAROLYNE (beaming) Franz, my husband Nick. PRINCE NICHOLAS (smiling) My pleasure. Very well. Please come, our escort’s waiting. Let’s hurry home.

99 EXT. CHATEAU WORONICE – DAY 99 A procession of carriages arrives at Carolyne’s and Nicholas’s estates. SERVANTS greet them at the door. Nicholas, Carolyne and Liszt walk in to the library, while SERVANTS unload his luggage. CAROLYNE Let me show you the presents. They walk into a library with bookshelves filled with expensively bound books. Portraits of great composers adorn the walls. In the center there’s a life-size portrait of Liszt. Two Viennese concert grand pianos Streicher and Bosendorfer stand on enormous Oriental rug. Next to the pianos is a stand-alone spinet. CAROLYNE (CONT’D) I found this for you in Leipzig. It once belonged to Mozart. (MORE) 97. CAROLYNE (CONT’D) (pause) And now turn around. Liszt turns as CAMERA FOCUSES on elaborately encrusted organ pipes on the wall with three oversized keyboards under them. CAROLYNE (CONT’D) The pipe organ was custom-made for you by Alexandre et Fils in Paris and installed just a few days ago. They are supposed to reproduce all the sounds of wind instruments. Liszt is overwhelmed. He turns on the organ and pulls out the stops of the diapason pipes in succession improvising. The SOUND is very powerful, nearly shaking the whole foundation of the house. Nicholas and Carolyne seem quite pleased. ALEXANDRA,(32) walks in to the library. ALEXANDRA Dinner’s served. They proceed to the dining room. Enormous table. Nicholas takes his place at the center. Carolyne and Liszt sit on sides. Their daughter Marie, now about twelve joins them. Butler HEINRICH serves the wine. Venison is being served. PRINCE NICHOLAS I will be going to Berlin in few days where I plan to spend the winter there. It’s quite fortunate that you’ve come to keep my wife company. You won’t miss me because Carolyne does both man’s and woman’s duties quite well. She loves hunting, takes good care of the estate and the affairs, and is a superb artist and a musician. She’s also an excellent writer. CAROLYNE (cordially) My husband is taking sabbatical to complete research on his favorite subject, medieval chivalry in the Baltic-German house. 98.

PRINCE NICHOLAS That’s right... Your arrival behooves us well and I wish you the best. He gets up and leaves.

100 INT. SARTORIS RESIDENCE. EATON PLACE LONDON - DAY 100 ADELAIDE SARTORIS, (27) daughter of famous Royal Theater actor John Philip Kemble, and sister of ”Fanny” Kemble is giving formal engagement for Chopin and her friends. Over hundred GUESTS are present. Jenny Lind is there with her chaperone HARRIET LEWIN-GROTE, (34). Broadwood and his piano technician ALFRED KIPKINS (24) rush to get their Broadwood piano ready. BROADWOOD I have three other pianos for Chopin in this engagement. Make sure he has everything he needs. From now on he should only use our pianos in public. He’s the greatest thing that ever happened to London’s music scene. HIPKINS I agree. Chopin’s playing is the work of pure genius. It’s something I’ve never heard before, an ocean of sound with such delicate and tender nuances of tone it’s entirely incomprehensible how one can play with such soft touch of the pedals and sustained chords of such immense richness and tenderness, resolving into such powerful and intricate waves of sound. I’ve never heard anything like that, and his legatissimo touch is simply haunting. No one can play it smoother, or better. BROADWOOD I agree. He’s absolutely exquisite.

Chopin enters stage to LOUD APPLAUSE and starts with Étude in G-flat major (Butterfly) and No. 3 in E major, (Tristesse). 99.

AUDIENCE on their feet APPLAUDING as he continues with Prelude No. 12 in G-sharp minor Op. 28 and the “Hades” Prelude in B-flat minor No. 16, Op. 28.

101 EXT. LONDON. QUEEN’S THEATER HAYMARKET - DAY 101 Chopin and KAROL SZULCZEWSKI, (32) are watching Jenny Lind performing Bellini’s La Sonnambula with Lablache. CROWDS gather fascinated by the legendary singers. CHOPIN Thank you Karol for arranging my new apartment for me. KAROL Oh, you’re very welcome. With our Literary Association of the Friends of Poland and Lord Duddley Stuart, head of Coutts & Company running it we’re in good shape. CHOPIN What worries me is the very German Prince Albert who’s becoming more and more hostile to our Polish cause. British government and British press are now very anti- Polish. KAROL This will change. They know that all we want is share of our freedom. The British already have theirs. CUT TO: Queen Victoria is at the box with DUKE WELLINGTON. Upon seeing her get up CROWDS sing GOD SAVE THE QUEEN. CAMERA MOVES to Jenny Lind and Mrs. Grote walking towards Chopin and Karol. CHOPIN (kissing her hand) M’adam...

JENNY LIND (beaming) I enjoyed your playing at Sartoris. It was great. (MORE) 100. JENNY LIND (CONT'D) We bought our tickets at Cramer, Beale & Co. on Regent Street. CHOPIN Ah, indeed! They also bought a few waltzes from me. JENNY LIND Did you like my singing better, or Pauline’s at Covent Garden? Unfortunately, Viardot didn’t have Lablache, she had Flavio. CHOPIN M’adam, I heard you more than once, but never enough to realize that you have no equal. It would do me great pleasure to request your company at my quarters where we can share music together. JENNY LIND (smiling) It would be indeed a great honor. ANGLE ON the sprawling VIEW of London as Chopin and Karol ride in their carriage across Putney Bridge. CHOPIN (excited) She’s the best in the business. No one even matches her. Every note she sings is the mother of pearls. KAROL (smiling) I know.

102 INT. CHATEAU WORONICE - NIGHT 102 Carolyne and Marie are in the drawing room together listening to Liszt playing sections of Beethoven’s Sonata Pathetique. ANGLE ON Carolyne and Marie as they hum the melody together with Liszt cherishing the experience and comfort of each other’s company.

PRINCESS MARIE (giggling) We’re going to call you Filzyg Midas because of your beautiful playing. 101.

CAROLYNE And you Magnolette? What are we going to call you? LISZT (turning from the piano) We’re going to call her Little Elf, or Farfadet. Marie’s governess MISS (SCOTCHY) ANDERSON in her thirties walks in. MISS ANDERSON Magnolette, it’s pass your bedtime. Marie leaves. ANGLE ON Carolyn and Liszt as Carolyne saunters near the fireplace. CAROLYNE I have made up my mind Franz. No one has made as deep impression on me as you did in my whole life. I feel as if I have known you forever, all my life and you have been the closest person to my heart. LISZT I feel the same. I have changed since I met you. She grabs his hand. CAROLYNE You don’t understand. I am deeply in love with you. I want to spend the rest of my life with you and for Marie to have real Father. Liszt takes her in his arms. LISZT (warmly) And what are we going to call you? CAROLYNE Call me anything you like. I’ll be your lover, your cook, your secretary, your princess, I’ll be anything and everything you want me to be. LISZT Floup. We’ll call you Floup. 102.

CAROLYNE Marie and I are looking to have a future. You’re thirty six, I’m twenty eight. For us life begins wherever you take us with you. They kiss. LISZT I might accept Grand Duchess of Russia’s invitation as their music director in Weimar. CAROLYNE Wonderful! You can concentrate more on writing and composing music then being on the road. Maybe it’s time to hang up the gloves Franz. LISZT What about Nicholas? CAROLYNE Nicholas will let me go. We’ve never really had a marriage. LISZT Let’s do it then. Caroline is all smiles. CAROLYNE I’m going to get rid of everything I have and bring it all with me to Weimar. This way we’ll have secure future waiting for us independent of anything, or anyone for the rest of our lives. LISZT But the Czar will never allow you to sell the estate for profit without taking a lion’s share of it. CAROLYNE We’ll see.

103 INT. CHOPIN’S RESIDENCE. DOVER STREET - DAY 103 Chopin is at the piano with Jenny Lind standing next to it. With them are Karol and Harriet Grote. 103.

Chopin plays and Jenny Lind responds to his playing with a stunning lyric coloratura soprano. CHOPIN (excited) Let’s do Amenaide from Rossini’s Tancredi. As Jenny Lind sings Chopin accompanies her. CHOPIN (CONT’D) Now Elvira from I Puritani! Jenny Lind complies. CHOPIN (CONT’D) Ilia from Mozart’s Idomeneo. As Jenny Lind sings Chopin flawlessly improvises on Mozart’s aria. CHOPIN (CONT’D) Now... are you ready? Let’s switch to Giulietta from Bellini’s I Capuleti e I Montecchi. The spectators astounded. They begin clapping unable to contain their enthusiasm. HARRIET GROTE Bravo! Bravo! Your voice is a pure soprano. You have the most perfect intonation I’ve ever heard. CHOPIN I agree. Jenny can sustain high C and high D with surprising power. No one can do this better, even Pasta, Schröder-Devrient, Malibran, Viardot, or even Grisi. It’s nightingale’s singing. JENNY LIND Thank you. Likewise Monsieur, your art is a sacred vocation and very close to my heart. All eyes are on Jenny Lind and Chopin. 104.

104 INT. LONDON. EUSTON TRAIN STATION - DAY 104 Chopin, Jane Stirling, her sister Katherine Erskine and Chopin’s new SERVANT DANIEL are boarding the train to Glasgow. As CAMERA follows picturesque, west-coast Birmingham-Carlisle route Chopin stretches comfortably inside the train’s first- class cabin. CHOPIN It was so kind for Henry, my English Pleyel to arrange this journey for us to Glasgow and Edinburgh. JANE STIRLING Henry is a good guy, rich, with lots of resources both in London and Scotland. Daniel pulls out a blanket and covers Chopin’s feet. LADY ERSKINE (reading the bible) You know the Bible is the ultimate authority in faith and order. By reading and studying it daily you can become one of us and be born again. CHOPIN (incredulous) M’adam... I would not know the difference between Thomas Cranmer, John Knox, the Church of England and Church of Scotland. LADY ERSKINE (opening the Bible) But you can be saved. Listen to Psalms. Here, let me read it to you. He pauses with his hand. CHOPIN M’adam. I’m a Roman-Catholic. We read the Bible in church and pray under the guidance of the priest. What worth is for ordinary human to declare salvation on another.

Lady Erskine recoils. 105.

JANE STIRLING Kathy! Spare yourself the effort. He’s not interested in this.

105 EXT. LOTHIAN ROAD STATION. EDINBURGH, SCOTLAND - DAY 105 DR. ADAM LYSZCZYNSKI, (32) and his WIFE are awaiting Chopin’s arrival. ANGLE ON Chopin, Jane Stirling and Lady Erskine getting off the train as Dr. Lyszczynski greets them. DR. LYSZCZYNSKI What an honor to have such distinguished guest in these remote parts of the world. JANE STIRLING I guess you’re gonna have Monsieur Chopin to yourself for a while as we do few errands around town. (to Chopin) Monsieur. You’re invited to stay with Lord and Lady Torpichen’s at Calder House in West Lothian whenever you’re ready. Chopin nods as his luggage is loaded onto his carriage by Daniel.

106 INT. CHATEAU WORONICE - DAY 106 Carolyne is in her office consulting with Count Vielgorski. COUNT VIELGORSKI Carolyne... You have enormous wealth and vast properties, thousands of farmers and servants working for you, an immensurable fortune and power, but unfortunately you can’t take it with you without Czar’s approval, and if you do you’re risking summary execution. CAROLYNE Summary execution? 106.

COUNT VIELGORSKI That’s right, you can be either shot or hanged if Czar’s government finds out you’re leaving the country with all your money. CAROLYNE (resolute) I don’t care. Sell everything. Hurry!

107 INT. GLASGOW. MERCHANT’S HALL - DAY 107 Over thousand people gather in ordinary looking ballroom anxiously waiting Chopin’s appearance on stage. Marcelina Czartoryski, her husband, Prince Czartoryski and the whole Stirling family are among the guests. Two Broadwood pianos are set in the middle. CAMERA MOVES backstage as Chopin gets ready. JOHN MUIR WOOD, (24) Broadwood’s agent looks nervously at the program. JOHN MUIR WOOD Monsieur Chopin. I’ve been trying to establish your repertoire. Henry has asked me to make the announcement. What are you going to play first? CHOPIN (worn-out) I can’t play for so many people in such large hall. My playing will be drowned. I’ll probably play some Mozart, Beethoven, or maybe some Mendelssohn. JOHN MUIR WOOD What should I tell them? CHOPIN Tell them nothing. Chopin gets on stage to loud APPLAUSE of the crowd.

108 EXT. ST. PETERSBURG. COUNT VIELGORSKY’S RESIDENCE - DAY 108 Carolyne gives a party at Count Vielgorski’s residence. Adolf Henselt, the piano virtuoso and Hector Berlioz are also there. Champagne is served. Noisy and crowded. 107.

ANGLE ON Count Vielgorski and Carolyne. COUNT VIELGORSKI (muttering) All your art has already been sold. Proceeds from sale are on their way. As far as the estate, obviously you’ve got to consult with your actuaries. CAROLYNE Thank you Count. Hector Berlioz and Adolf Henselt join them. COUNT VIELGORSKI Monsieur Berlioz. Princess Carolyne zu Sayn Wittgenstein. BERLIOZ (kissing her hand) It’s such an honor M’adam. The muse and benefactress of the greatest virtuoso in the world. CAROLYNE Franz has always been a great supporter of your work. He’s presently working on some transcriptions of your I should say eponymous Symphony Fantastique. BERLIOZ Oh yes, I have been closer to Franz and to Chopin than to anyone else, Franz because of his heart, and Chopin because of his genius. CAROLYNE Chopin’s in London. I’ve heard he’s not doing too well. We all fear for him. BERLIOZ Chopin’s been dying all his life and ironically he’s outlived many of his closest friends. Don’t worry. He’ll survive London.

CAROLYNE Franz cannot but think about nothing but Chopin’s mazurkas, polonaises and nocturnes at all times these days. 108.

BERLIOZ I know, Chopin’s mazurkas are irresistible, how can anyone not think about them especially when he plays them himself with such degree of mastery and softness that the hammers barely brush the strings while you’re tempted to put your ear to the piano and listen to the magical sounds witnessing a gathering of elves and sylphs. Carolyne is laughing. CAROLYNE Oh, you artists. You never change. They walk on the terrace with a sprawling view of St. Petersburg. BERLIOZ But the greatest of Chopin’s creation are his etudes where you find harmonic inventions that are equal only to Bach himself with such astonishing depth and imagination, such combination of tones and moods and amazing harmonic embroidery that it’s nearly impossible to describe their astounding, celestial beauty. CAROLYNE I know, but enough talking about Chopin. How is your ballet? BERLIOZ Romeo and Juliet? If you permit me to accompany you to the theater you’ll see for yourself tonight. CAROLYNE I agree. With greatest honor Monsieur!

109 INT. ST. PETERSBURG. ROYAL THEATER - DAY 109

Carolyne sits next to Adolf Henselt watching Berlioz conducting his overture to Romeo et Juliet. TWO WOMEN next to them seem bored and uninterested. 109.

WOMAN #1 Is this all there is? WOMAN #2 I guess. It certainly doesn’t sound like infinity to me. CAROLYNE (irritated) I overheard your conversation and it looks like infinity, or this divine Adagio is not enough for you. You probably require several infinities, several eternities maybe. HENSELT Yes, in deafness. CAROLYNE Really. Perhaps they believe they are the ones. ANGLE ON Berlioz who raises his hands as SOUND of orchestra rises.

110 INT. BROADWOOD’S RESIDENCE. PULTENEY STREET - DAY 110 Henry Broadwood, DOCTOR MALLAN, (42) Jane Stirling and Daniel surround Chopin in his bed who is passing out. BROADWOOD You’ve gotta get him going. The weather is not very good. We need to get him back to Paris. CHOPIN I’m fine, please. Don’t worry about me. I’ll be fine. JANE STIRLING At least perhaps we can move you to better apartment, or better street. Doctor Mallan administers treatment. DOCTOR MALLAN This is only a temporary remedy. My advice would be to get him back to Paris as quickly as possible. 110.

111 EXT. STAROSCIE ESTATE - DAY 111 Snow-engulfed estates spreading over large stretches of land. Carolyne stands at the main entrance with her governess Miss Anderson. She unlocks the door and they step inside. CAROLYNE This is the house of my father Peter von Iwanowski. It’s where I grew up. The house has been locked for years since my parents death. When I announced my intention to sell it I’ve been besieged by speculators from everywhere and it’s been sold within hours. They step outside as CAMERA MOVES across the land. CAROLYNE (CONT’D) It’s the only place on earth where peace, repose and solitude were always granted and available to me. They get in a carriage riding into the sunset.

112 INT. ST. PETERSBURG ARCHDIECESE - DAY 112 Carolyne hands over a document to ARCHBISHOP HOLOWINSKY, (42) who is reading it from behind his desk. CAROLYNE I’m filing a petition to annul my marriage with Prince Nicholas. His approval is in there as well. ARCHBISHOP HOLOWINKSY (filing the document) Very well. I’ll forward it to our sources, and they will notify you. Elated she walks over to adjoining library and scribbles a letter. CAROLYNE (V.O.) (writing) My darling.... I already gave my petition to annul the marriage with Nicholas to Archbishop. Now I have to pick up Marie, Scotchy and our dog Rapo and I’m ready to go. I have sold some properties for a price as high as has ever been paid. (MORE) 111. CAROLYNE (V.O.) (CONT'D) I have hundred fifty million rubles in cash and jewelry with me. How shall I now get this money into Germany?

113 INT. CHATEAU WORONICE - NIGHT 113 SERVANTS sleep on the floor spread in hallways and passageways as Caroline enters her residence. A FEMALE CONFIDANT appears and hands Carolyne a bulk of documents. FEMALE CONFIDANT M’adam.... I have great news! Czar’s authorities gave you the permission to cross the border to Carslbad for health reasons, even at these times of war. CAROLYNE Very well. We’re leaving at dawn. Prepare to go abroad. Servants light the torches. Everyone rises to prepare for their journey. A six-horse carriage is loaded with luggage. ANGLE ON SERVANT locking up cases filled with cash, jewelry and precious stones. CUT TO Carolyne alone in her study standing before a painting of Liszt. CAROLYNE (CONT’D) I pledge my love and allegiance to you forever my lord and master. From now on you will never be alone!

114 EXT. VILNUS. LITHUANIA - DAY 114 Heinrich, Carolyne, Mrs. Anderson and Marie are crossing Niemen river in full flood on a raft loaded with horses, their carriage and luggage tied up with ropes.

ANGLE ON Heinrich paddle-steering the raft on raging river. In front of them are the twinkling lights of a church in Vilnus. 112.

As Heinrich and Carolyne struggle to the shore, on arrival they unload the luggage and harness the horses. ANGLE ON Carolyne and Marie passing out from exhaustion on a small, wooden bench inside the church.

115 EXT. RUSSIA. COUNTRYSIDE - DAY 115 Fierce snow blizzard engulfs them as Carolyne and Marie cuddle in the back of their carriage with chambermaid as coachman rushes their horses across.

116 EXT. RUSSIAN BORDER - NIGHT 116 Two BORDER PATROL couriers gallop at full speed toward Carolyne’s carriage quickly catching up with them. BORDER PATROL #1 (lighting torches) Stop! Stop! Stop! The border is closed. No one is allowed to leave or enter. The carriage comes to full stop. CAROLYNE You must let me go. My husband is the adjutant to the Czar. BORDER PATROL #1 Let me see your papers. She hands him the papers. As he looks at the documents, second border patrol gives a cursory look at the luggage. BORDER PATROL #1 (CONT’D) (reading) All right. I’ll let you go. He salutes while carriage passes in a hurry.

117 INT. LICHNOWSKY CASTLE. GERMANY - DAY 117

Carolyne’s carriage comes to full stop at PRINCE LICHNOWSKI’s castle. Liszt is already at the door waiting. 113.

CAROLYNE (beaming) Franz. My darling, we’re finally together, free at last. They embrace. Maria and her chambermaid step down. Dog runs around barking randomly. Heinrich unloads the luggage as servants come to his aid. LISZT Soon we will go to Raiding and Eisenstad. Europe is preparing for war. We should stay here for a while until things quiet down. Carolyne holds a small, Gordian-knot pin encrusted in diamonds. CAROLYNE This symbolizes our union that can never be broken by anything or anyone for the rest of our lives. Liszt kisses Carolyne’s hand and accepts the pin. LISZT Let it be our vow forever. They kiss passionately.

118 EXT. CALAIS HARBOR - DAY 118 Chopin gets off the boat. AUGUST LEO, (38) accompanies him. Chopin is very weak and can barely get on the train. With the help of TRAIN CONDUCTOR Leo helps him get on the stairs.

119 INT. PARIS. GARE DU NORD - DAY 119 Delfine is waiting for them at the station. A carriage pulls over. DELFINE Fryderyczku! What have they done to you? She looks after his luggage with Leo as Chopin steps inside the carriage choking on his breath. CHOPIN Finally, I have nothing else left but lie in my apartment and whimper hoping for better times. (MORE) 114. CHOPIN (CONT'D) (choking) Have any of my students returned? DELFINE No... Sadly, I also have another dose of bad news. I know you won’t like it. CHOPIN What? DELFINE Doctor Molin has died. Chopin gasps for breath.

120 INT. CHOPIN’S RESIDENCE. SQUARE DORLEANS - DAY 120 The apartment looks abandoned. Delfine opens all the windows as CAMERA PANS revealing impressive VIEW of Tuilleries, St- Etienne-du-Mont, Notre Dame, the Pantheon, Val-de-Grace, the Invalides and St. Sulpice. The city basks in the sun. Daniel brings up the luggage. Delfine makes up his bed and helps Chopin to it. Door bell rings. Cyprian Norwid and Pauline Viardot arrive. PAULINE Oh, my God... My Frederic! She kneels on one knee and kisses his hand. CHOPIN (coughing) It’s no one’s fault. Sand says that our misery is the result of inescapable destiny created by the world outside and that we can do nothing about it. (pause) I’m going now... Cyprian and Pauline come closer. Chopin by now is wrapped in a shawl, leaning on his pillows. CYPRIAN (cheerfully) You’ve been going in this way every year and yet, thank God we still find you alive. 115.

CHOPIN (coughing) I’m going to leave this place and move to Place Vendome. Cyprian recoils with embarrassment.

121 INT. NOHANT. SAND’S RESIDENCE - DAY 121 Sand and Pauline sit together in Sand’s living room. PAULINE These are his final days. SAND (bitter and angry) You must understand that I had to make a choice between my son and my friend. His taking complete side of one my children had estranged the other, and Maurice was in no way wrong. PAULINE Why don’t you go and see him? SAND It’s absolutely out of question and it would only make matters worse. I have the inward conviction he doesn’t want it either. He is tormented by memory of me. PAULINE Why don’t you try? SAND I swear I don’t deserve all that I have suffered, but no, if he calls me to Paris I will go. If he writes to me, or has someone write me a note to see him I will reply, but not like this. I can’t and I won’t. PAULINE (pleading) But don’t you realize. These are his final days. It’s either now, or never. Sand breaks down. 116.

122 EXT. CHAMPS ELYSEE - DAY 122 Chopin looks worn out, his face swollen with edema, frail, shivering, clearly in pain. Chopin and Delacroix ride in a carriage along Avenue des Champs-Élysées. CHOPIN I have missed dearly our afternoon rides while in London. So tell me, how’s your work at Gallerie d’Apollon in Louvre progressing? DELACROIX Ceilings always take time, they’re not as easy as paintings. What about yourself? Have you written anything recently? CHOPIN No... although I’ve been thinking about a third piano concerto, but I’m not giving it away. Not yet... DELACROIX (excited) Tell me how you do it? What’s the secret to your work? They share a bottle of wine as the carriage trickles down the boulevard. Chopin pours some wine to a glass and gives it to Delacroix. CHOPIN First it’s the understanding that you’re a composer, not a performer. A composer is an intellectual, and if you’re tempted to excel in both you run the risk of being neither. Second is the art of the fugue, to know the fugue is the source of all reason and consistency in music. The fugue’s counterpoint is what naturally leads one to knowledge of harmony and the mastery of chords with their inner logic. Bach and Mozart knew how to do this brilliantly.

DELACROIX What about Beethoven? CHOPIN What about him? (shrugs his shoulders) (MORE) 117. CHOPIN (CONT'D) Beethoven! Beethoven is inconsistent and it’s not because of his wild originality. It’s because he ignores the rules. Mozart never does that. Every moment of his music has its own line in complete harmony with other parts blending and following it flawlessly. DELACROIX So you followed the music of Bach and Mozart and breathed your soul into it, like a sword fighter who learned the craft from his two greatest forefathers, and then made your own. CHOPIN It’s true. Five minutes spend with my compositions played well can last you a lifetime. Your own mind will raise the bar and your music standard will be elevated to a point that you’ll never be the same again. What’s more you will always have access to those sacred moments not only in your mind, but in your heart as they will always stay with you. Chopin takes a sip of wine. DELACROIX (smiling) Jouissance. Chopin raises a toast with his bottle. CHOPIN Yes, jouissance! Delacroix smiles as Chopin clinks the bottle with his glass. A moment of silence follows as they watch the boulevard passing them by while soft MUSIC of Bach-Marcello’s Adagio in D-minor enters in the b.g.

CHOPIN (CONT’D) Strangely, I don’t think I can continue any longer and I don’t really understand why. (MORE) 118. CHOPIN (CONT’D) I was miserable in London, and it wasn’t because of anyone in particular, everyone was wonderful to me, even Jane who’s always overprotective and cannot do anything right. It’s just that my strength is leaving me and I can’t really continue much longer. DELACROIX (sobbing) You will... you will.

123 INT. CHOPIN’S RESIDENCE. PLACE VENDOME - DAY 123 Chopin is in bed as boxes and coffers are being brought upstairs and paintings are being hung on walls. Various manuscripts and furniture are spread all around. DR. JEAN CRUVEILLER, (40) Chopin’s doctor is by his bed checking his pulse. CRUVEILLER Hurry! Call the priest. CHOPIN (waking up slowly) No! No. FATHER ALEKSANDER JELOWICKI (42) enters the room. As Chopin wakes up he immediately recognizes him and smiles faintly. CHOPIN (CONT’D) Father! Let me kiss the cross. I want to confess my sins. Don’t let me die like a hog. Chopin’s sister LOUISE CHOPIN (42) moans in agony. As Chopin confesses Marcelina Czartoryska, Adolf Gutmann and Solange sit on the bed’s frame near him. ANGLE ON a crowd of people in the hallways. Berlioz is there with Pleyel and Marie Pleyel. CAMERA MOVES with slow, sweeping movement as it examines the forlorn faces and figures waiting their turn in the hallway, as if the entire world had stopped.

BACK TO CHOPIN’S ROOM - 119.

Pleyel piano is rolled in from next room while continuous procession of people come in and out paying their respects, some kneeling, some sobbing, some stopping at Chopin’s bed and leaving in a hurry. Delfine SINGS Stradella's "Hymn to the Virgin". CHOPIN (CONT’D) More... please! In my memory please play the music of Mozart. Chopin has fits of coughing and convulsions as Delfine begins to sing Psalm No. 18 by Marcello (“Psalms of David”) with difficulty, trying to control her sobbing. Solange holding Chopin’s hand listens to his last instructions as he barely whispers words into her ear. Franchomme brings his cello and plays Mozart’s Sonata in e- minor, K. 304 with Marcelina at the piano. Chopin is now begging for death in fits of convulsions. CHOPIN (CONT’D) (to Solange) Ask August to play the cello sonata I wrote for him, please... SOLANGE Auguste... Play the sonata. Franchomme begins to play Chopin’s Cello Sonata in G minor, Op. 65 weeping. CHOPIN (utters his last breath) Mother! Gutmann holding his head wipes his forehead. Cruveiller takes a candle and holds it before Chopin's face. DOCTOR CRUVEILLER Are you suffering? DOCTOR CRUVEILLER (CONT’D) (barely audible, closing his eyes) No more.

Solange sobs. Louise Chopin drops on her knees. LOUISE (sobs) Oh my God, he’s already gone. 120.

The room is in complete darkness as stunned mourners drop on their knees praying, unable to control their sobbing.

124 INT. MARLIANI’S RESIDENCE. SQUARE D’ORLEANS - DAY 124 COUNTESS CHARLOTTE MARLIANI, (36) responds to LOUD KNOCKING on her door. It’s Solange visibly changed and in pain. SOLANGE (choking) Chopin has died. Few hours ago. I held his hand when he passed. I came to spare you the shock of reading about his death in newspapers and to inform my mother. Do you know where she is? COUNTESS MARLIANI (stunned) She’s at home in Nohant. SOLANGE That can’t be. I saw her wondering along the quays talking to herself. Other people saw her too. COUNTESS MARLIANI I don’t understand. SOLANGE She’s here. I know my mother. Solange leaves.

125 INT. LONDON TIMES - DAY 125 Morning bustle of a busy, editorial office as newspaper headlines come off the press announcing: CHOPIN IS NO MORE.

126 EXT. CHURCH OF MADELEINE - DAY 126 Swags of black, silver-embroidered velvet curtains with FC initials decorate the facade of the church.

CROWDS gather held by GUARDS in front of main door, many holding personalized black-card invitations. It’s a grey and maudy day. 121.

CAMERA MOVES inside the cathedral. It’s packed wall-to-wall. Mozart’s Requiem is performed. Lablache SINGS Tuba Mirum. ANGLE ON black silk curtain from behind which emerges a SINGING VOICE, and as CAMERA MOVES higher it reveals Pauline Viardot. A closed casket is brought up from sanctuary and placed on a catafalque draped in black-velvet with gold FC initials on it. Millions of flowers fill the church. ORGANIST LEFEVRE- WELY plays Chopin’s Prelude No. 6. Op. 28. As Mass is chanted by PRIEST, pallbearers emerge. They are Czartoryski, Delacroix, Franchomme and Gutmann. MASSIVE SOUND of the organ FLOODS the church. SOUND of Liszt’s Ave Maria follows as pallbearers carry the casket outside. Outside, SPECTATORS are gathered around the hearse harnessed with black-plumed horses. ANGLE ON Franchomme, Gutmann, Delacroix and Czartoryski who emerge with the coffin on the steps of the church confronting a sea of humanity. MOURNERS SING Ave Maria. Pallbearers load the casket onto the hearse and the procession makes its way along the Grand Boulevards to Pere- Lachaise cemetery as Meyebeer leads the train of mourners. CROWDS gather along the boulevard as procession proceeds from Boulevard de la Madeleine, to Boulevard Haussman and Avenue de la Republique to Place de La Concorde and Pantheon. CAMERA MOVES between SPECTATORS at different stages of procession. CUT TO Entrance to cemetery as procession follows in silence, with only horses hooves making ominous, clicking SOUND. Orchestra behind the hearse plays Chopin’s Funeral March from Sonata No.2 in B-flat minor Op. 35 with its amazing melodic THEME played on violin.

127 EXT. PERE LACHAISE CEMETERY - DAY 127 The coffin is unloaded as the mass of humanity make its way to cemetery for interment. NO SPEECH is given as everyone looks at the casket in SILENCE. 122.

The casket is lowered into the grave and Louise utters a deep CRY of agony that breaks as one, unified cry for all. MOURNER drops handful of dirt on the coffin and the crowd quickly breaks up into smaller groups.

128 EXT. WEIMAR COURT. GERMANY - DAY 128 Carolyne and Liszt arrive in Weimar. It’s a beautiful, sunny day. With all their wealth they can now begin to live a happy, new life. ANGLE ON Liszt sitting by his desk, writing as Carolyne organizes his notes to him. Rays of sunlight fall on their faces. LISZT Chopin has not died. His music is one of the greatest gifts to mankind. He plays a fragment from Chopin’s Mazurka No. 4 in e-flat minor, Op. 6 accentuating its unique rhythm and tonality. LISZT (CONT’D) For Chopin music was a language. It’s the language of the heart. Carolyne listens to Liszt’s playing with amazement. LISZT (CONT’D) His gift was also my biggest curse. ANGLE ON Carolyne who opens a manuscript with the title: LIFE OF CHOPIN. CAROLYNE I began to gather some notes for your book. Liszt keeps playing Chopin’s Aeorial Harp Etude in A-flat major No. 1 Op. 25. 123.

LISZT This is his music. It’s the language of love, with sounds and harmonies that express full spectrum of thoughts, feelings, emotions and sensations, a marvelous piece of prose whose purpose is to move and reveal by its delicate intonations and accentuations the essence of human nature and true meaning of art.

129 INT. HÔTEL RITZ PARIS - DAY 129 Rachmaninoff extends a cigarette holder to reporter who declines his offer, and lights up a cigarette. RACHMANINOFF Liszt never got over Chopin. For the next few years he was composing nothing but consolations that were reflections of Chopin’s polonaises and mazurkas, and then with Carolyne’s help he went to write a book about him. He reaches for a leather bound book. RACHMANINOFF (CONT’D) Here it is... The life of Chopin and it all happened right here and ended here. Right across the street. ANGLE ON the square of Place Vendôme. RACHMANINOFF (CONT’D) (looking outside) Chopin’s window was on the other side of Napoleon’s column with those melted canons. ANGLE ON the column. RACHMANINOFF (CONT’D) The Hexameron composition that Liszt, Thalberg and Chopin wrote together and planned to perform never materialized as intended and never really took place. The reporter smiles and closes his notes. 124.

130 INT. ARC DE TRIOMPHE - DAY 130 Six grand pianos are placed under the arc with PIANISTS performing HEXAMERON taking turns one-by-one. CAMERA HOLDS as CROWD APPLAUDS and the virtuosi bow and receive flowers. Upbeat notes of Berlioz’s UN BAL enter SOUNDTRACK as CREDITS ROLL. THE END