SLM19.AUG Script

SO LONG MARIANNE

Screenplay

By Robbie Moffat Paul Wiffen

From an Original Story by Gabriel Murray

Current Revisions 19th August 2020

Production Company Name Palm Tree Universal / Hydra Films Address Pinewood Studios, Iver Heath Phone +44 7736 904349 page 1.

1 INT. TV STUDIO - NIGHT 1 FADE IN BLACK AND WHITE: Close on LEONARD COHEN (32) sitting opposite ADRIENNE CLARKSON, the interviewer. CLARKSON How does it affect you when you read a poem you have forgotten. Is it like reading something written by someone else. LEONARD I had to read this poem for you. I haven’t read it for some time and I’ve forgotten the meaning of the whole poem. CLARKSON Doesn’t that in some way disturb you? LEONARD It doesn’t disturb me because I don’t think anything was at stake. The message comes through with the body, eyes and the voice. I could just as easily be reading the instructions from a shoe polish can. CLARKSON What’s the point of writing poetry then when you could just read the instructions on how to polish your shoes? LEONARD If you want shiny shoes, you want to have very good instructions. If you want to polish other parts of yourself, you have to do it with poetry. CLARKSON For other people looking at you, Leonard Cohen the poet, the novelist, the man who lives in a white house on the island of Hydra, son of a Jewish family from Montreal, writer of pop songs ... (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 2. CLARKSON (cont'd) All these things may add up to Leonard Cohen, but they do look rather complex. LEONARD I’m all in one place. CLARKSON Oh, I don’t know ... You may seem so to yourself. LEONARD Well, you know, I think the borders have faded. People are no longer capable of these kind of poses. The poet on the mountain with the cape. The singer catering to the masses. Its just a matter of what your hand falls on. If someone offered me a building to design, I’d take it up. If someone offered me a small country to govern, I’d take it. CLARKSON Would it matter that the building you have designed would fall down, or the country you governed would turn into chaos? LEONARD I don’t think the building would fall down. My government would protect the people from government. People are fine as they are, I would just leave them alone. Some people may want a building to collapse over them at a specific time. Cars are designed with in-built obsolescence, why not buildings. CLARKSON What about poetry? LEONARD I think that history and time builds in obsolescence in poetry unless its the great stuff. You never know if you are really hitting that.

CLARKSON Don’t you ever? LEONARD Sometimes you know about it. Sometimes it has that kind of ring. I’m not interested in posterity which is a paltry form of eternity. I’d like to see the headings, something like ‘artist finishes painting today’. I’m not interested in an insurance plan for my work ..... FADE OUT: OPENING CREDITS MUSIC by Leonard Cohen

2 EXT. NEW YORK - DAY 2 View of 50’s New York skyline

3 EXT. APARTMENT BUILDING, NEW YORK - DAY 3 A brown stone building five storeys high. CAPTION: NEW YORK 1959

4 INT. APARTMENT BUILDING - DAY 4 An open suitcase full of clothes with an acoustic guitar leaning against it. Leonard(25) is collecting pages of poems together. He places them and his guitar into a soft case. FRANTIC DOOR KNOCKING Leonard opens the door. IRVING LAYTON, 47, poet pushes in. IRVING I just heard you were leaving. LEONARD I’m going to London to write a novel.

IRVING Yeah? Which girl are you running from this time? LEONARD You always tell it like it is, Irving. Irving lifts up a book of poetry by Lorca. IRVING Franco had Lorca shot! Leonard snatches the book from him, throws it in his suitcase. He draws Irving to the window. LEONARD Do you really want to be part of the tedious rat race? Don’t you want to be one of the beautiful people? Irving shrugs his shoulders. LEONARD My grant came through from the Canada Council. He shows him a handwritten letter. IRVING Shit. You got a writer’s grant? How much? LEONARD Three thousand dollars. IRVING On top of your pop’s trust money? Irving stares at him intently then breaks into a grin. Irving bear hugs him. IRVING You’re a lucky kid. No more part-time jobs. You’re one of those beautiful people you talk about.

5 EXT. NEW YORK HARBOUR - DAY 5 A 1950s ship sailing out of New York harbour.

6 EXT. LONDON STREET - NIGHT 6 CAPTION: London 1959. Leonard, suitcase in hand, guitar case over his shoulder, looks up in confusion from the letter. SIGN - Gayton Road. His eyes dart - come to rest SIGN - BOARDING HOUSE Leonard climbs the steps to the door. He rings the bell. The door opens - STELLA PULLMAN, 50ish, homely, kindly. LEONARD I was told you have rooms to rent. She looks him up and down. STELLA You can take the cot in the living room until one of my rooms is free. LEONARD How much? STELLA If you bring in the coal every morning, light the fire, I’ll not charge you until you get a room. LEONARD Thank you .... Leonard starts up the stairs STELLA You play that guitar? LEONARD I was in a folk band at school.

7 INT. BOARDING HOUSE - DAY 7 Stella ushers Leonard into the living room. STELLA I’ve had quite a few young Canadians staying with me. LEONARD I got your address from my friend. Morten? STELLA He slung his hook last week. NANCY BACAL, 25, redhead, enters the room. NANCY Leo! You finally got here! LEONARD What have you done to yourself, Nancy? The rabbi would have a fit. NANCY I’m an actress now, Leo. This is where I am at. They hug warmly. LEONARD Where’s Mort? NANCY Gone to live in his studio with a model. Nancy hides her hurt. NANCY How’s the poetry going? LEONARD I’m here to write a novel. Do you know where I can get a typewriter? NANCY Leonard, the first thing you need in London is an overcoat.

8 EXT. BOARDING HOUSE - DAY 8 Leonard emerges with a spring in his step accompanied by Nancy who is carrying an umbrella. The sun is shining as they march arm in arm down the street.

9 EXT. SHOP - DAY 9 The rain is making rivulets down the shop window. Leonard, squeezed under the brolly with Nancy, settles his eyes on a blue Burberry coat. Nancy nudges him to go inside. Leonard turns away - Nancy pulls him back to the window. Leonard feels the rain on the back of his neck - resigns himself.

10 EXT. SHOP - LATER 10 Leonard emerges from the shop wearing the Burberry. Nancy places a Trilby on his head. Leonard takes it off - Nancy puts it back on his head. NANCY It suits you. LEONARD Are you trying to turn me into an actor? NANCY We are all actors, Leonard. LEONARD I’m a writer, Nancy. NANCY Doesn’t mean that you can’t act. Let’s find you a typewriter. She takes him by the arm and launches them both into the rain.

11 EXT. MONTAGE LONDON - DAY 11 Montage of rainy London showing the transition of time. 2nd Unit shoot.

12 INT. BOARDING HOUSE - DAY 12 Leonard brings in the coal and struggles to light the fire. CUT TO: Leonard is typing on his new Olivetti typewriter. He is hesitant at first - then more confident. CUT TO: Leonard lights the fire more successfully. CUT TO: Leonard is typing furiously. He stops. He touches a rear tooth - winces. Stella enters with a hot drink. He barely acknowledges her - drinks from the mug - winces again. STELLA Come to the dentist where I work and get that tooth pulled. LEONARD No thanks. STELLA Such a nice looking Jewish boy, Nancy. It’ll be a shame when his teeth fall out.

13 EXT. EAST LONDON STREET - DAY 13 Leonard emerges from a house closely followed by Stella in a dental assistant gown. He is rubbing life back into his cheek.

STELLA There’s a bank around the corner. He mumbles and nods. Stella smiles and goes back inside.

14 INT. BANK - DAY 14 Leonard approaches a BANK TELLER who has a deep tan. Leonard tears out his last travellers’ check - pushes it across the counter. LEONARD Can you cash this check for me, please? BANK TELLER Certainly, sir. Leonard signs the check. LEONARD Where did you get your tan? BANK TELLER Visiting my family on Hydra. LEONARD Where is that? BANK TELLER An island in Greece. LEONARD Is it a large island? BANK TELLER No. There are no cars there. LEONARD It must be very remote? The Bank Teller warms to Leonard. BANK TELLER Not at all. There’s a direct ferry from Athens. Sophia Loren made Boy On A Dolphin there. A Girl In Black was also filmed there. Have you seen them? Leonard shakes his head.

LEONARD Sounds like the place to go. The Teller starts to count out the cashed money. LEONARD Would this be enough to get me there? The BANK TELLER looks at him. LEONARD To get to Hydra? BANK TELLER More than enough. You take the Orient Express from Victoria Station to Athens. Once there you hail a taxi to Piraeus to catch the ferry. LEONARD You make it sound very simple. BANK TELLER It is. Three days and you’ll be in the sun. LEONARD You should work for a travel agent. The Teller smiles. BANK TELLER Would you like half in pounds, half in drachma? I can do that for you? He waves at the a foreign currency board behind him. Leonard pauses for a moment. BANK TELLER It is the most beautiful island in Greece ..... Leonard’s mind is made up. LEONARD OK, give me half in pounds, half in drachma!

15 INT. BOARDING HOUSE - DAY 15 Leonard is throwing his possessions into his suitcase. Nancy and Stella are trying to keep out of his way. NANCY It’s all a bit sudden? LEONARD I need some sun. STELLA Couldn’t you go to Brighton for a week? LEONARD Greece is full of writers and artists. NANCY What about your novel. LEONARD I’ll do the rewrite in Greece. STELLA Another rolling stone. Young people nowadays, always on the move. Leonard stops for a moment. Turns tender. LEONARD I’ll miss you both. He hugs them in turn.

16 EXT. ATHENS STATION - DAY 16 Leonard exits into Athens carrying his suitcase, typewriter and guitar case. LEONARD (V.O.) Arrived in Athens after a most glorious train ride through the Alps and Pindus mountains. Reminded me of the Rockies. He hails a taxi.

17 INT. GREEK TAXI - DAY 17 Leonard opens the door -

loads in his luggage and himself. LEONARD Piraeus, please! The CABBY nods. LEONARD Can we go by the Acropolis and the Presidential Palace? The Cabby nods again.

18 EXT. ATHENS MONTAGE SHOTS - DAY 18 The changing of the guard at the presidential palace. LEONARD (V.O. CONT’D) I wanted see the main sights and was so pleasantly surprised by how little I had to pay for the detour. The Acropolis. Street views of the old district. Lykabettus Hill.

19 EXT. PIRAEUS PORT - DAY 19 Leonard is sitting on a capstan looking out to sea. He is writing the postcard which concludes the voice- over. LEONARD (V.O. CONT’D) I’m waiting for the ferry to take me to Hydra. I’ll write again when I get there. Your friend, Leonard

20 EXT. FERRY - DAY 20 Leonard is looking out from the bow straining ahead. CUT TO: The ferry is drawing close to the island of Hydra.

21 EXT. PORT - DAY 21 Leonard is on the quay-side with his belongings.

He removes his overcoat and sits on it, enjoys the sun on his face. A sailing boat attracts his attention. A young blonde woman MARIANNE (23) carrying a shopping bag approaches. Leonard is immediately interested. He lifts his hat to her. Marianne nods, swiftly walks on. Leonard’s eyes linger on her. He takes his guitar out of its case. Strums a few cords. LEONARD (talks) Jesus was a sailor when he walked upon the water ... He sees the clock tower that stands on the quay. LEONARD (talks) and he spent a long time watching from his lonely wooden tower... He looks up at the white waterfront villas. Stumbles a little. LEONARD (talks) And when he knew for certain Only drowning men could see him He said 'All men will be sailors then Until the sea shall free them’. He stops. The heat is getting to him. He picks himself up ...

22 EXT. BILL’S BAR - DAY 22 Leonard enters off a narrow sun-filled lane. BILL CUNLIFFE, 20’ish ex-pat Englishman of the old school is behind the bar, polishing glasses. There are a few EX-PAT CUSTOMERS at tables.

LEONARD Is Bill around? BILL That’s me ... LEONARD I’ve just come from London. I was told me if I was in Hydra, this was the place. BILL You’re not from London with that Yankee accent... LEONARD Canadian. I’m Leonard. They shake hands. BILL On the house. Bill pours him a glass of retsina. Leonard downs it quickly - winces. He pushes the glass back across the bar to signify a refill. BILL (CONT’D) You’re going to fit in here, mate! English, Yanks, Norwegians, Australians. We’ve quite a little set of ex-pats here. Here’s to you! They both empty their glasses. LEONARD I’m looking for somewhere to stay. BILL How long? LEONARD A few months. BILL They’ll maybe put you up until you find a place ... Bill points.

Leonard turns to - Australians GEORGE JOHNSTON (48) and CHARMAIN CLIFT (37) with their arms around each other. Bill winks to Leonard. Approaches the couple. BILL George and Charmain. This is Leonard. George looks at Leonard’s suitcase. GEORGE Another one off the boat ... BILL Can you put him up? I’ll vouch for him. Charmain studies him. Smiles. CHARMAIN Sure, Bill. What do you do, Leonard? LEONARD I’m a poet. I’m here to rewrite my novel. CHARMAIN It’ll be a long process then. George and I have written three novels together. Now he’s trying to do one on his own. In between drinks. How many years has it been now, George? GEORGE Too many distractions on this island. Bill places two glasses of ouzo on the table. GEORGE Bill doesn’t help me. Charmain and Leonard lock eyes, understand one another. CUT TO: Some hours have passed.

George is very drunk. Leonard and Charmain have been joined by ANTHONY KINGSMILL (34), Englishman, Panama hat, jacket, collar and tie, walking cane. Charmain gets up to go to the toilet. Anthony takes her by the hand. ANTHONY One day I’m going to paint you, Charmain. Naked of course. GEORGE (laughs) Go ahead! Stretch marks and all. CHARMAIN Ignore him. Charmain leaves. ANTHONY You should take more care of Charmain, George. She is a beautiful woman. GEORGE You can have her then. ANTHONY Perhaps I will. George makes a gesture as if the talk is nonsense. ANTHONY Has anyone ever painted you Leonard? LEONARD Only with words. ANTHONY An artist has to be in love with his muse to paint her. I imagine it is the same with poets? LEONARD I think it helps. Charmain returns. George makes to grab her. She pushes him away. Charmain downs the last of her drink.

She kisses Anthony on the cheek. CHARMAIN Are you ready, Leonard? LEONARD Sure. Leonard hastily gathers his belongings together. Charmain helps George up, leads him towards the exit. Leonard shakes Anthony’s hand, nods a thanks to Bill. Follows the Johnsons.

23 INT. JOHNSTON LIVING ROOM - EARLY EVENING 23 Leonard is on the sofa. Charmain is making an attempt to tidy up. CHARMAIN Not much point tidying up when you’ve got three kids. George picks up a note from the table. CHARMAIN They’ve gone swimming. They’ll be out till sunset. George plonks three large utilitarian glasses on the table - fills them to the brim with wine. CHARMAIN How’s London these days? LEONARD Good to be out of it. Rained most of the time I was there. CHARMAIN We had a huge place overlooking Hyde Park. George was the foreign correspondent for his Ozzie paper. George is rolling a joint. GEORGE It’s playtime here three hundred and fifty days a year.

LEONARD What about the other fifteen days? GEORGE Don’t need them, mate. George hands Leonard the lit joint. GEORGE The fishermen bring it over from Africa. The coppers leave us to our own devices. LEONARD That’s cool ... CHARMAIN We’ve got quite an artist’s community here. GEORGE A succession of beautiful young things who’ve heard about the drink, drugs and sex. (he lights the joint) Like moths to a flame. CHARMAIN (curt) Let’s not bore Leonard with your infidelities. GEORGE Or yours, darling. Charmain ignores his reply. CHARMAIN That’s nice a guitar. Do you sing? Leonard takes up his guitar. LEONARD I had a few lessons in Canada ... He plays a flamenco sequence. Suddenly stops. LEONARD My teacher committed suicide before he taught me the rest. (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 19. LEONARD (cont'd) (he pauses) I write my own songs. Charmain sits down on the sofa beside Leonard. He strums a D major chord. LEONARD (saying the words, not singing) Jesus was a sailor when he walked upon the water and he… He thinks and then plays E minor slightly hesitantly LEONARD (CONT’D) ... spent a long time watching from his lonely wooden tower ... (stops) CHARMAIN Don’t stop. I like it. GEORGE Watch her! She’s a sucker for musicians. CHARMAIN It makes living with you easier! (encouragingly) Why don’t you sing the words? Leonard goes back to D major. LEONARD (singing) And when he knew for certain only drowning men could see him ... Plays the more tricky F#minor. LEONARD (CONT’D) He said all men will be sailors then until the sea shall free them. CHARMAIN I like your voice. She kisses him on the cheek. George is jealous.

GEORGE For Christ’s sake! He’s only been in the house ten minutes. Its embarrassing! CHARMAIN Shut up, you old fool! Leonard is caught in the crossfire. George angrily leaves the room. CHARMAIN I don’t love him. Leonard smiles to hide the awkwardness of the comment. CHARMAIN He’s impotent. Can’t get it up. I’m not going through life without sex. She puts a hand on his leg. LEONARD Where do I sleep? She pats the sofa. CHARMAIN You can stay as long as you like. LEONARD I’d like to get my own place. She stands up to refill their wine glasses. Leonard picks up a book from the floor. The High Valley by Charmain and George. Charmain returns with the wine glasses, cosies up to him. LEONARD Can I read this? CHARMAIN No, its fiction ..... This is fact. She hands him Peel me A Lotus by Charmain Clift.

CHARMAIN What do you want in life, Leonard? LEONARD I just want to be loved. CHARMAIN That’s a noble sentiment. Impossible here to maintain.

24 EXT. STORE - MORNING 24 Charmain, sunglasses holds the beads aside for Leonard.

25 INT. STORE - MORNING 25 The interior is dark. Charmain pulls him by the sleeve towards the back of the store. She holds two fingers up to NIKOS KATSIKIS (40’s) the owner.

26 EXT. STORE - MORNING 26 The yard is filled with tables and chairs. A few EX-PATS are drinking coffee. Leonard is halfway through reading Peel Me A Lotus. Nikos serves them coffee. They exchange eye contact. Nikos retreats into the store. Leonard closes the book. CHARMAIN What do you think? LEONARD Tells me a lot about you. CHARMAIN Go on .... LEONARD It reads as if you are living in George’s shadow.

CHARMAIN I’m a better writer than him, that’s why he does me down. LEONARD Is that why you .... Nikos? CHARMAIN And the others. I don’t hide it from George. It ameliorates his cruelty to me. Leonard sits back, sips his coffee. The blonde girl, Marianne, enters the store carrying a babe in her arms. Leonard follows her movements. Marianne hastily browses for food - puts her selections on the counter. Charmain follows his gaze. LEONARD Who’s that? CHARMAIN (CONT’D) That’s Marianne. She’s married to Axel Jensen. He’s been cheating on her. Leonard asks with his eyes if Charmain is the one he has been cheating with. CHARMAIN No, not me. He moved another woman into their house while she was away. Some beatnik called Pamela. Marianne is stretching to reach something high up. CHARMAIN You’re spilling your coffee. Leonard puts down the cup, wipes his shirt. He turns back towards the store. Marianne is gone. Nikos comes out to clear up a table.

CHARMAIN Nikos. Leonard is looking for a place to rent. NIKOS I have a place. Very inexpensive. CHARMAIN Near the port? NIKOS Not far from your place. The electricity supply’s not good. And there’s no water. Interested? LEONARD Can I see it? NIKOS No problem. Nikos steps into the store, returns almost immediately. NIKOS You better take these. He slaps four candles on to the table. NIKOS Not much furniture. CHARMAIN I can help with that. Leonard begins to wonder what he has let himself in for. LEONARD Is there a bed? Nikos laughs.

27 EXT. STREETS - DAY 27 Leonard (with his belongings) and Charmain are on donkeys being lead by a GUIDE via a rope. They travel up the steep side streets. They reach a small house in a narrow lane.

28 EXT. LEONARD HOUSE - DAY 28 Charmain opens the door. CHARMAIN Nobody locks their doors here. Leonard follows her in.

29 INT. LEONARD HOUSE - DAY 29 It is a single room dwelling with a double bed and two chairs. A lamp sits on a side table. LEONARD Perfect, just what I’m looking for. How much did Nikos say it was? CHARMAIN Fourteen dollars a month. You pay Nikos on the 1st of the month. It’s free till then. LEONARD Why so cheap? CHARMAIN It hasn’t been rented for years. It’s haunted. LEONARD Haunted? CHARMAIN Spirits of the past. Nothing to worry about...friendly spirits. The locals are superstitious. Charmain tries the light switch. Nothing happens. CHARMAIN I’ll leave the switch on. If it doesn’t come on, you’ve got the candles. (she moves towards the door) I’ll let you get settled in. Turn right on the street and keep on to get back to my house. I’ll look out a table for you. LEONARD How do you call for a donkey?

CHARMAIN You don’t. You walk downhill, catch a donkey back up. LEONARD You’re very kind. I wish you and George could settle your differences. CHARMAIN Can’t. Its too late. She smiles sweetly, departs.

30 INT. LEONARD HOUSE - NIGHT 30 The flickering candle lights up Leonard'S face. He opens his notebook. He picks up his guitar and works on finishing the song. LEONARD (sings) And when he knew for certain Only drowning men could see him He said "All men will be sailors then Until the sea shall free them ... He is finding his voice, surprises himself. LEONARD But he himself was broken Long before the sky would open Forsaken, almost human, he sank beneath your wisdom like a stone.

31 EXT. LEONARD HOUSE TERRACE - MORNING 31 Leonard is reading his dog-eared Lorca book of poetry. He turns to a page - begins to read aloud.

32 EXT. HYDRA MONTAGE - DAY 32 LEONARD (CONT'D) This light, this flame that devours ... this weight of sea that breaks on me ... (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 26. LEONARD (CONT'D) this scorpion that lives inside my breast ... are a garland of love, bed of the wounded ... where dreamlessly, I dream of your presence ... among the ruins of my sunken breast ... Anthony steps on to the terrace. ANTHONY Good morning, poet! I brought you some grapes. Leonard takes the grapes. LEONARD (CONT'D) That’s kind of you. ANTHONY Lovely view ... LEONARD I’d like to buy this place ... I can work here. ANTHONY Aren’t poets supposed to be wandering? LEONARD No, that’s Jews. ANTHONY You are Jewish. LEONARD All that wandering needs to stop. I want to get my novel revised and more poetry written. This house is it. Leonard is gorging the grapes. ANTHONY How about a proper brunch. Let’s go to down to the port. LEONARD Maybe you can help with this first ... Leonard signals Anthony to follow him into the house.

33 INT. LEONARD HOUSE - MORNING 33 Leonard points to his Greek oven. LEONARD Do you know how this works? ANTHONY I never cook, old boy, you’ll have to get Nikos to show you that. Perhaps he’ll throw in a couple of lessons if you purchase the house. LEONARD Would it be expensive? ANTHONY Pennies, old boy. Pennies. LEONARD I’ve only got half-pennies. They laugh.

34 EXT. LANE - MORNING 34 They are descending a steep lane. LEONARD How long have you been living here? ANTHONY Four years. I first came here on holiday. I fell in love with the place. Alas, my wife wanted my daughter Emily educated in England. So they are in London, and I am here. LEONARD Have you always been a painter? ANTHONY Always! Look at the light here. Its fantastic. I’m not alone in my appreciation of it. He points to a large villa. ANTHONY The artist Tim Hennessy lives in that big villa up there. (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 28. ANTHONY (cont'd) He’s married to a rather chic Venetian Countess. LEONARD The rich set? ANTHONY Super rich. Money oozing out of them. The other side of the coin the beatniks passing through here .. going east... heading for Kathmandu. LEONARD Searching for some space in their heads. ANTHONY Aptly put, Leonard. Beautiful losers. I’ll take you up to meet Hennessy after we eat. His booze cabinet is never closed.

35 INT. STORE - DAY 35 Marianne is waiting at the counter for her supplies. Anthony and Leonard enter the store. Anthony raises his hat. Marianne looks past him to Leonard. ANTHONY How’s the baby? MARIANNE Fine. ANTHONY Not too hot for the little thing? MARIANNE Sometimes. ANTHONY And yourself? She looks ready to burst into tears. ANTHONY Would you like to dine with us? MARIANNE Not today. I have things to do.

Leonard and Anthony move outside ...

36 EXT. STORE - DAY 36 ... seat themselves at a table. ANTHONY Stunning, isn’t she? She doesn’t know she’s beautiful. Sad. She went back to Norway to have the baby. Axel went off the rails while she was away. LEONARD Does she know? ANTHONY Unfortunately yes .... its all out in the open. LEONARD How could he do that? ANTHONY Some men just don’t want the responsibility of children. Especially wanderers? LEONARD I’m ready to put down roots. Marianne emerges from the store with bottled water and milk. She is looking dejected and vulnerable. Leonard gets up. LEONARD Come and sit with us. Please. Marianne locks eyes with Leonard. Softens. Leonard pulls out a chair, sits her down. MARIANNE I can’t stay long. I have to get back to my son. LEONARD How old is he? MARIANNE Four months.

Marianne is ready to burst into tears. She gets up. MARIANNE I’m sorry .... Leonard and Anthony stand up. Leonard hands the bottled water and milk to her. MARIANNE I’m so embarrassed. LEONARD No, not at all. She smiles sweetly, heads off. They sit down again. ANTHONY Axel’s cruel to her. LEONARD What does he do for a living? ANTHONY He’s a novelist. LEONARD Oh .....

37 EXT. LANE - DAY 37 Leonard and Anthony travel by donkey up the narrow lanes.

38 EXT. HENNESSY VILLA - DAY 38 TIM HENESSY (35) is drinking wine and smoking on the upper floor that looks out across the harbour. Leonard and Anthony pass below. Tim greets them from up above. TIM Anthony! ANTHONY Tim! We’ve come to drink you dry!

TIM No chance! Come on up! Anthony and Leonard dismount - climb the steps - enter the villa.

39 INT. HENNESSY'S VILLA - DAY 39 The walls are covered in icons and paintings of Venetian gondolas. It is furnished with Louis 16th furniture, thick embroidered carpets and rugs. Tim greets them with two large glasses of wine. ANTHONY This is Leonard. TIM Welcome to my palace. Leonard whistles as walks towards some large decorative circles on the wall. LEONARD Buddhist mandalas. TIM You’re a guy who knows his stuff. Are you from New York? LEONARD Montreal. TIM You speak French? LEONARD I can get by, but it’s not a language that satisfies my mind or my heart. You’re American? TIM St Louis. Moved here from Venice. I had to leave Venice, things became difficult. I won’t bore you with the details. Anthony and Leonard exchange a look.

TIM My wife is Venetian. Come, we can have drinks on the terrace. Tim leads them up a flight of stairs.

40 INT. MEDITATION ROOM - DAY 40 YANNIS, eyes closed in meditation, is sitting crossed legged on a giant Turkish carpet. Leonard bumps into a chair. Yannis opens his eyes with a start - stares at them, fixes on Leonard. He closes his eyes again. Tim signals them to proceed quietly out to the terrace.

41 EXT. HENNESSY’S TERRACE - DAY 41 The terrace is protected from the glaring sun by a roof supported by arches. Tim pours some wine. Leonard and Anthony dip into a bowl of snacks. TIM Yannis disappears and re- appears when he feels like it. LEONARD Is he a relative? TIM He is my wife’s live-in spiritual advisor. ANTHONY Doesn’t like Tim’s drinking or the company he keeps. TIM Religion and art don’t mix. The COUNTESS GUCCOLDI (45) strolls onto the terrace dressed like a model from a Gustav Klimt painting. She extends her hand to Anthony. ANTHONY Countess ....

Anthony takes her hand and kisses it extravagantly. She turns her attention to Leonard. TIM Mister Leonard Cohen from Montreal. Leonard bows. Anthony laughs at his reverence. COUNTESS Pleased to meet you, Mister Cohen. Anthony takes her hand, leads her to a chair. COUNTESS Anthony, it’s been a while. I’ve missed you. You’ve abandoned me to the vulgarities of my husband. How are you? ANTHONY I’m well, Countess. Always lovely to be greeted by your wonderful smile. Tim fills their glasses. COUNTESS So what brings you to Hydra, Mister Cohen? LEONARD In London I met a bank clerk from Hydra. He extolled its beauties. I had to come. COUNTESS On impulse? LEONARD I would term it more as decisive action. COUNTESS Hydra is an Arcadian world ... like living in the times of Ancient Greece. It was once part of the Venetian Republic. I like to think it still is.

TIM I’m a modernist, but I don’t mind a bit of the old girl’s stuff. COUNTESS Your paintings are too abstract, amore. No-one will remember you when you are dead. TIM Who cares about that. Its the life I have in me now that you love. He rubs himself up against her. COUNTESS We have guests ... Tim laughs, retreats to the far end of the terrace to replenish the snacks. CUT TO: Some hours have passed. Anthony and Tim are smashed and expansive in their gestures. ANTHONY What’s Western art come to I ask you? Screen printing pictures of money and tin cans and selling them for thousands. TIM God forbid Andy Warhol gets the idea of invisible clothes. I suppose the critics would all go along with it rather than admit to themselves what they are looking at naked people. ANTHONY That’s funny .... TIM Warhol’s hunted me down in Venice to draw my feet. ANTHONY Do you have special feet? TIM What do you think?

He draws his feet up for Anthony to look at. ANTHONY Look normal. TIM Normal looking American feet, right? Anthony nods as drunks do. Leonard and the Countess are tete a tete. COUNTESS Why did you leave Montreal, Leonard? LEONARD Anthony thinks its because I am a wandering Jew. COUNTESS Are you restless, Leonard? LEONARD I suppose so ... COUNTESS This is a place for wanderers. Dreamers. Love. After the atrocities of the War, it is time to heal. LEONARD As the grandson of two rabbi’s ... there is still a lot of pain. COUNTESS You have kind eyes. TIM The sun is setting! Leonard turns around. The Sun is descending into the sea. LEONARD It is rather special. COUNTESS It is if you have not seen it a thousand times before.

42 EXT. SQUARE - NIGHT 42 Leonard, Anthony, and BEATNIKS are sitting at a restaurant table. GREEK MUSICIANS are performing on bouzoukis in the square. Men in Greek costume are dancing. LEONARD I don’t think I’ll ever get used to this stuff. Leonard is wincing. ANTHONY The story goes they used resin to seal the wine bottles and got so used to the taste they now add it to the wine. Leonard winces again. George and Charmain walk up to their table. GEORGE Good evening, mateys. ANTHONY Now the gang’s all here. Pull up a pew. Charmain shuffles up close to Anthony. CHARMAIN How are you settling in? LEONARD Good. Thanks. CHARMAIN Met any girls? LEONARD I’m looking, Charmain, but they are all married. ANTHONY Not many single ones here, old boy. LEONARD Okay, maybe I will settle for a married woman. I’ve got my eyes on one now.

Charmain turns to look. Marianne and AXEL JENSEN are walking near the water. They are in earnest conversation. LEONARD Do you think I have a chance with her? Marianne eyes are filled with sadness. Leonard gives her a wave. Axel pulls her in. CHARMAIN She’s a nice girl. Nice girls are always attracted to cruel men. Leonard gives her a puzzled look. LEONARD He may be cruel, but I’m not. CHARMAIN Breaking away to be with someone like yourself tears a woman’s heart in two. She looks to Anthony who smiles sweetly at her. She takes Leonard’s hand. CHARMAIN Let’s dance. They join in the Greek dancing. CUT TO: The MUSIC has stopped. Anthony and Leonard have an arm around each other. George and Charmain are in their own conversation at the other end of the table. ANTHONY (whispers) Its Sophia. SOPHIA LOREN (35) is talking with TONIS, 40ish, one of the musicians.

ANTHONY That wet shirt when she came out of the water. Man! We got quite friendly when she was filming here.

43 EXT. FLASHBACK - DAY 43 Authentic footage from the BOY ON A DOLPHIN www.youtube.com/watch?v=G0DwM7xWpEA

44 EXT. SQUARE - NIGHT 44 Anthony gets up. ANTHONY I’ll bring her over. He walks with a swagger towards Sophia. ANTHONY (CONT'D) Sophia, my dear! How lovely to see you. SOPHIA Anthony, mi amore! They kiss. ANTHONY You promised to write. SOPHIA I know, darling ... but I am famous now. This is a flying visit to see Tonis. I leave tomorrow. ANTHONY Tonis! Can I borrow Sophia? Tomis smiles, nods. Anthony steers Sophia towards their table. George stares at her breasts. ANTHONY This is Sophia. Sophia sits. Everyone is star struck except Leonard.

LEONARD I haven’t seen Boy On A Dolphin but I saw you in The Black Orchid with Anthony Quinn. He has Sophia’s attention. LEONARD The reviews from the Venice premiere were terrific. You won the Volpi Cup in your first serious role. They were right, you were magnificent! SOPHIA (to Anthony) I like this one, Anthony, he has taste and intelligence. (to Leonard) ) You’re a handsome boy. I will get you a part playing opposite me any time you like. She kisses him on the lips. The others roar with laughter. LEONARD (embarrassed) Thank you for your kindness. SOPHIA Bene. Tonis and I are going to sing. Can I use your table and you as my Alan Ladd? Leonard is flattered. Sophia sits with him. SOPHIA nods to TOMIS. He starts the song - hums the introduction. She sings What is this thing they call love. (https://www.youtube.com/watch?v=YlvPBGBt3qA) SOPHIA (CONT'D) (she turns to TOMIS) There's a tale that they tell of a dolphin And a boy made of gold With the shells and the pearls in the deep He has lain many years fast asleep What they tell of the boy on a dolphin Who can say if it's true Should he rise from the depths of the ocean (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 40. SOPHIA (CONT'D) Any wish that you wish may come true You say he is only a statue And what can a statue achieve And yet while I'm gazing at you My heart tells my head to believe If the boy whom the gods have enchanted Should arise from the sea And the wish of my heart could be granted I would wish that you loved only me.

45 EXT. STORE - DAY 45 Leonard is hung-over, sitting having a coffee. Marianne plonks herself down beside him. MARIANNE You’ve been watching me. Leonard is totally surprised. LEONARD Yes .... MARIANNE Since the first day at the port? LEONARD Yes .... MARIANNE I’ve been watching you. Your name is Leonard, isn’t it? I heard you kissed Sophia Loren. She is very beautiful. All men want to kiss her ... and more. LEONARD You are a thousand times more beautiful. Marianne blushes. LEONARD I’ve been staring at you since the moment I saw you.

MARIANNE I’ve been staring at you too. I hope I don’t make you feel uncomfortable. Leonard cannot believe that she is at his table. LEONARD No, not at all. Sorry, where are my manners? Would you like a coffee? Marianne nods. He signals Nikos. He turns back. Marianne is crying. LEONARD What’s troubling you! I’d like to help if I can. MARIANNE It’s my husband. He’s such a big deal in Norway, he’s like a national hero. (she pulls herself together) He’s left. He says he doesn’t want to be with me any more. Now I’m on my own .... She breaks down again. MARIANNE I feel so lonely ... like a part of me has been ripped out. When I look at my baby, I see my husband. Leonard puts his arms around her. LEONARD Love is like a pane of glass, it can shatter easily. MARIANNE That’s me ... shattered. She dries her own tears. LEONARD How did you come to be on Hydra?

MARIANNE He wanted to escape from the freezing winters in Norway. LEONARD I can understand that. MARIANNE I came with him to keep our relationship going. We were having arguments in Oslo, but the arguments got worse here. LEONARD What were you arguing about? MARIANNE He didn’t want to have a baby. I thought having the baby would make us closer. I even called the baby Axel junior. She cries again. She pauses as Nikos brings out her coffee and places it on the table. She looks wistfully into it until Nikos departs. MARIANNE Axel has a boat. He’s gone on it with another woman. I mean nothing to him, his child means nothing. LEONARD When did he leave? MARIANNE This morning. Leonard looks at the clock. It is midday. LEONARD Did you see him go? MARIANNE Yes. I waved him goodbye. LEONARD Really? After the way he has treated you?

MARIANNE I love him, and hate him at the same time! LEONARD You are going to stay on in Hydra? MARIANNE Yes. You are here. Marianne feels she is being watched by the LOCALS. MARIANNE Can we go for a walk? LEONARD Sure ....

46 EXT. LANE - DAY 46 They are walking slowly, keeping their distance. MARIANNE I know nothing about you ... except that you are a friend of Anthony and Charmain. Are you an artist? LEONARD A writer. MARIANNE Just like Axel. LEONARD I don’t think I could ever be Axel. MARIANNE Writers are all the same. You do your best work in the rain and cold. You think you need the sun for inspiration but all you do is drink and chase women. Isn’t that so? Leonard doesn’t answer. MARIANNE Anthony is the same. And Charmain. And her husband George Johnston. They cheat on each other with the beatniks who pass through here. (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 44. MARIANNE (cont'd) Its not right. (she looks directly at Leonard) Axel told me he is free to love whoever he wants. Life does not work that way for me. It is simple. Two people in love, yes, but you cannot love when there is a third person in the relationship. LEONARD You are right. Marianne stops. MARIANNE Are you in love with anyone, Leonard? LEONARD I thought I was. Susanne in Montreal was my friend but I never did any more than have tea and oranges with her. So I left ... but not empty-handed. I wrote a poem about her. MARIANNE Axel never wrote about me, before or after we were married. I would have liked a man who cared enough to write about me. Axel only cared about my body, not my mind. LEONARD I’d write about your mind. You’re smart. What did you do before you came here? MARIANNE What do you do when you are a teenager? You leave school. I was going to be an actress, but my parents did not approve. I married Axel to get away from them. He didn’t disapprove of acting, he just wanted to keep me for himself. LEONARD (CONT'D) He’s not a poet then. Poetry is about love and loss. Novelists write stories about intrigue and infidelity.

He thinks about what he has just said. LEONARD Maybe I’m not cut out to be a novelist. I’ve not got it in me to be in a triangle. MARIANNE I’d like to read some of your poetry. LEONARD I’m trying to revise my novel but I’m struggling. This is an island for poetry and music. Truthful emotion rather than detached fiction. MARIANNE What is your the novel called? LEONARD Beauty At Close Quarters. Quite appropriate when I look at you. MARIANNE You are a flatterer, Mister Leonard Cohen. Did you say that to Sophia Loren? LEONARD Sophia is very striking but you are a natural beauty. No makeup, frumpy clothes, and you still take my breath away. MARIANNE Stop it. Marianne commences walking again at a brisk pace. MARIANNE (over her shoulder) I want to hear more about your poetry, Leonard Cohen. I’m right off novelists today! Leonard has to run to catch up.

47 EXT. LEONARD HOUSE TERRACE - DAY 47 Leonard leads Marianne onto the terrace of his house. LEONARD Are you superstitious?

MARIANNE No. I was brought up to believe in Jesus.

48 INT. LEONARD HOUSE - DAY 48 Leonard tidies a few things away. LEONARD I’m not Christian but I feel Jesus’s suffering stands for something. He creeps into my poetry. Leonard takes out a picture of Suzanne and hands it to Marianne. MARIANNE Suzanne must have been quite something if you are putting her up for comparison with Jesus. (smiles) She has my dress sense ... LEONARD Bohemian. She bought most of her clothes from the Salvation Army. MARIANNE I like her already. She is clearly on the same wavelength as me. LEONARD That’s it, wavelength, that’s the word I’ve been looking for! He picks up his guitar, turns to the right page of his notebook, and corrects his writing as he sings. LEONARD And… she… gets… you… on… her… wavelength… (looks up for inspiration) and… she… lets… the… river… answer… that… you’ve… always been her lover… He stops, looks up at Marianne. MARIANNE What’s wrong

LEONARD Nothing’s wrong. You just helped to finish my lyric ... He puts the guitar down. LEONARD Can I make you something to eat. I’ve got the oven working. No strings, just a thank you! Oh, what about your son? MARIANNE He’s with my Greek friend, Maria. She said I needed today off from being a mother. She’s OK with him till sunset. LEONARD Then its my lucky day. MARIANNE I find myself smiling for the first time in months. Marianne touches Leonard’s hand MUSIC plays over Montage LEONARD V.O (singing) And just when you mean to tell her that you have no love to give her Then she gets you on her wavelength And she lets the river answer that you've always been her lover And you want to travel with her, and you want to travel blind And you know that she will trust you For you've touched her perfect body with your mind Marianne loosens her dress. We see her naked back as she leans forward to kiss Leonard ... The orchestra takes the theme over

- as they make love. CUT TO: Leonard and Marianne lie in the bed with the sunset coming through the window. MARIANNE The sun’s going down. I need to feed my son. Would you like to come with me? LEONARD Yes, I would love to.

49 INT. MARIANNE’S HOUSE - EARLY EVENING 49 The house is smaller than Leonard’s. The sun is red on the rear wall. Marianne is breast feeding her baby. In the golden halo, Leonard sees them as Madonna and Child. MARIANNE You like my little Axel ... LEONARD He looks perfect. (frowns at the disrepair) How long have you stayed here? MARIANNE Two years. We were never happy ... it’s dark and empty. LEONARD (taking her hand) Come and live with me. I will look after you and little Axel. MARIANNE Oh Leonard, we’ve just met. LEONARD I’ve had the best day of my life. Seize the moment, Marianne! He kisses her. She pauses, then kisses him back.

LEONARD Is that a yes? MARIANNE Yes .... They kiss again.

50 INT. LEONARD HOUSE - NIGHT 50 Leonard enters carrying a cot full of Marianne’s stuff. Marianne lays the baby down on the bed. Leonard tries switching on the lights - no electricity. Marianne empties the cot - places Axel in it. Leonard lights the candles. A picture of Saint Tekakwitha hangs on the wall. Marianne studies it. LEONARD The Venerable Kateri Tekakwitha. One day I would like to write a novel about her. MARIANNE She is an Indian? LEONARD Lily of the Mohawks. Canadians have petitioned the Vatican to have her made a saint. MARIANNE What did she do? LEONARD She did good. She took Christianity to the Indian nations... her words were poetic. Leonard opens a drawer - lifts up a small cross. LEONARD (CONT'D) Look at this. How simple ... but how beautiful! I bought it in an antique shop in Montreal. I was told that it belonged to Kateri. Can you believe that?

He hands the cross to Marianne. LEONARD (CONT'D) She was kind to strangers. MARIANNE We are not strangers, Leonard. I feel I have always known you. Marianne smiles - sees a bell hanging on the wall. She takes it down. MARIANNE What is this? LEONARD It’s Russian. It belonged to my grandfather’s synagogue in Lithuania. MARIANNE Can I ring it? LEONARD Of course. Marianne rings the bell. It echoes throughout the room. LEONARD They rang this bell at dusk when Shabbat began. MARIANNE What is Shabbat? LEONARD The Sabbath. The day of rest. Starts Friday night, ends Saturday night. MARIANNE You are quite religious. LEONARD I have a faith to live by, but nothing to preach. MARIANNE That’s good. Axel preached at me all the time. She puts the bell back.

MARIANNE We are going to get along just fine. FADE OUT: FADE IN

51 INT. LEONARD HOUSE - MORNING 51 Time has passed. The house is now amply furnished and homely. Marianne is in bed asleep, her hair splayed out across the pillow. Leonard gazes at her lovingly - gets up - pulls on pants - picks up his guitar.

52 EXT. LEONARD HOUSE TERRACE - MORNING 52 It is another beautiful day. Leonard perches himself on a wall overlooking the town. He begins to play. LEONARD (sings) I loved you in the morning, our kisses deep and warm Your hair upon the pillow like a sleepy golden storm Yes, many loved before us, I know that we are not new In city and in forest they smiled like me and you But now it's come to distances and both of us must try Your eyes are soft with sorrow Hey, that's no way to say goodbye The orchestra swells up and takes over the melody and we see him put the guitar aside ...

53 INT. LEONARD HOUSE - MORNING 53 ... and kisses Marianne as she sleeps. CUT TO: Leonard is writing in a chair.

Marianne is sitting up in bed brushing her hair. LEONARD I sat in a chair like this beside the Saskatchewan River. The two girls I was with were sleeping. I wrote the lyrics to a song in one sitting. First time. And I thought it must be wonderful to be that kind of writer. When they woke up I sang it to them. And it never happened to me again, until now. Marianne stops brushing her hair. LEONARD I don’t want to sing this one to you. MARIANNE Why? LEONARD Because I thought about you all night long. The angel that has come to me to cure me of my loneliness. MARIANNE That’s very dark, Leonard. LEONARD I’ve been very lonely, Marianne. MARIANNE Me too ... but now we have each other. Will you play your song. LEONARD No, you might think I want to leave you. MARIANNE Do you? LEONARD No. I want to be with you. MARIANNE I want to be with you too.

LEONARD I love you. MARIANNE I love you too. LEONARD It hurts to love this much. MARIANNE Even gypsy boys have hearts. Leonard jumps on to the bed. They laugh and giggle together.

54 EXT. LEONARD HOUSE - DAY 54 Waiting outside the house, Leonard and Marianne are in their finest clothes. Marianne is holding Axel in her arms. MARIANNE Here comes Maria! MARIA arrives puffing up the lane. MARIANNE I have left milk for the feeding. We’ll be back by six. Thank you. Maria takes the baby. MUSIC - We hear That’s No Way to Say Goodbye return. Marianne and Leonard head off arm in arm kissing each other as they head down the lane. Montage of their walk to the harbour. LEONARD (V.O) (singing) I'm not looking for another as I wander in my time, Walk me to the corner, our steps will always rhyme, You know my love goes with you as your love stays with me, It's just the way it changes, like the shoreline and the sea, But let's not talk of love or chains and things we can't untie, Your eyes are soft with sorrow (MORE)

55 EXT. PORT - DAY 55 Leonard and Marianne are sitting at a café having a glass of wine. LEONARD When you want someone but you cannot have them, you want them more. MARIANNE Then when you get them, you need them more. LEONARD Sometimes you see a woman and she is with a man. You know that she is an angel but you cannot be with her. You will never be with her. It was like that with Susanne. It is different with you. I must have sensed that you were looking for someone new, even if you didn’t know it. MARIANNE What were you like as a child? LEONARD I was full of messianic beliefs. My father told me I was a descendent of Aaron the high priest. MARIANNE Who was Aaron? LEONARD The brother of Moses. He escaped with Moses to the Promised Land. MARIANNE When did you become interested in singing? LEONARD When I heard the singing of the rabbis in my local synagogue. I remember it so vividly. My grand-mother’s singing ... (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 55. LEONARD (cont'd) now she’s left me an inheritance I don’t deserve. MARIANNE She must have loved you, Leonard. LEONARD Yes, and I loved her. MARIANNE Then you are doing something with this love. LEONARD You are right.

56 INT. OFFICE - DAY 56 Leonard, Marianne, Anthony, Nikos and a SOLICITOR. Leonard hands over a wad of money to NIKOS. The Solicitor hands them the contract. SOLICITOR You are now the owner of a house on Hydra.

57 INT. LEONARD HOUSE - NIGHT 57 Leonard lies in bed with Marianne. They are surveying what they now own. LEONARD I never thought I would end up owning a house in Greece. Thank you grandma! MARIANNE Life takes us where the wind blows. LEONARD Your wind was Axel. MARIANNE An ill-wind. He betrayed me. LEONARD Without love, there can be no betrayal.

MARIANNE And when they betray you, they turn cruel. LEONARD Guilt. MARIANNE Is that why men cause so much pain? LEONARD We are all beautiful losers. We win some lose some, but we generally lose. Everybody has that experience that sense of defeat. It either embitters you or makes you stronger. MARIANNE You mean if you don’t get what you want you are unhappy? LEONARD If you get it sometimes you are not happy either. The object of our desire continuously escapes us. He kisses her gently. LEONARD (CONT'D) No one wants to be alone. MARIANNE I think that’s why I got married. Being alone ... it’s like an illness ... an empty place. LEONARD Humans were not designed to be alone. MARIANNE Axel will end up alone. He wants too much. He does not appreciate what he has. LEONARD I appreciate what I have. If you left me Marianne, I would die.

MARIANNE You will always be inside me, Leonard. LEONARD Forgive me now if I hurt you in the future. MARIANNE No-one can ever hurt me again like Axel has done. LEONARD The Japanese say I go your way and you go my way. Husband and wife drink tea ... your smile my smile... your tears my tears.

58 EXT. ISLAND - DAY 58 Leonard and Marianne are in a boat. Marianne trails her hand in the blue water. We hear traditional GREEK MUSIC.

59 EXT. BEACH - DAY 59 Marianne lingers on the rocks. Leonard emerges from off camera - embraces Marianne. Whispers something in her ear. She laughs - runs He chases her - catches her - pulls her into the water.

60 EXT. UNDERWATER - DAY 60 They dive deep beneath the surface. Their bodies intertwine. A CHOIR sings.

61 INT. CHURCH - DAY 61 An PRIEST says mass. We hear a snippet from a Leonard song.

The camera rises up to the church ceiling. Frescoes of gold.

62 EXT. LEONARD HOUSE TERRACE - DAY 62 The POSTMAN arrives with a letter. Marianne thanks him - opens it. MARIANNE It’s from Axel. Marianne sits down next to Leonard. MARIANNE (CONT'D) Do you want me to read it to you? Leonard nods. MARIANNE (translates) Dear Marianne, my heart is bleeding. Believe me my little wife, I suffer a thousand voices that shout - get a grip of yourself, go back home with her, give her what she needs. Marianne’s voice quivers. LEONARD Be brave ... go on. Marianne refocuses on the letter. MARIANNE I wish that you could feel for me the way I feel for you. It would help me immeasurably. Marianne’s voice is weak. MARIANNE I am so much more fond of you than ever before. I won’t say love as I am fearful of using a word that we don’t truly comprehend. Axel. Marianne hands the letter to Leonard - wipes her eyes.

LEONARD He is mixed up. And selfish. MARIANNE I know. LEONARD He feels guilty for leaving for another woman. MARIANNE Axel always pushes the limits in his life. LEONARD Well, the artist is the life he lives. I haven’t read him but I can imagine what he writes. MARIANNE Oh Leonard, please don’t let him come between us. LEONARD He’s the father of your child. MARIANNE Yes, but it is you that I love.

63 EXT. BILL’S BAR - DAY 63 Charmain is drinking with Anthony. ANTHONY Have you seen Leonard lately? CHARMAIN Since Marianne moved in with him? No. ANTHONY The Greeks don’t like it. They think that Leonard stole her from Axel. More bluntly they are saying that she is living in sin with a Jew. CHARMAIN What’s a woman supposed to do ... cry for the rest of her life. ANTHONY They’re openly calling her a tart.

CHARMAIN It’s the Sixties for God’s sake. Women want to be free to do what they want. ANTHONY Is that what you want? To be free of George? CHARMAIN Yes! Men can do what the hell they want. But us ... we are conditioned to be subservient and locked up in the kitchen. Anthony places his hand on Charmain’s. ANTHONY You’re not like that. CHARMAIN I still have to pretend that I am. My marriage is a sham. Everybody knows it. ANTHONY Leave George. Come live with me. CHARMAIN What would your wife say? ANTHONY She’s too busy going to Ascot. She doesn’t care. I was never cut out to wed, it rhymes too much with dead. Charmain laughs. CHARMAIN What about the kids? ANTHONY They wouldn’t even notice you were gone. CHARMAIN My youngest would. ANTHONY Then bring him with you. The other two can go between you and George. Will you think about it?

CHARMAIN Yes.

64 INT. LEONARD HOUSE - DAY 64 Leonard is writing. A KNOCK. Leonard opens the door. It is Anthony holding two bottles of wine. ANTHONY Old boy. I’ve not seen you in weeks. Marianne appears in the background. ANTHONY (CONT'D) Hallo, Marianne. MARIANNE Hallo. How are you Anthony? LEONARD Please come in. Anthony steps inside.

65 EXT. LEONARD HOUSE TERRACE - DAY 65 The bottles are empty. Anthony, Leonard and Marianne. ANTHONY Don’t worry about the gossip. Everyone has affairs on Hydra. LEONARD The locals are rude to Marianne. ANTHONY They love being rude! Life is boring here without gossip. Enjoy the attention. MARIANNE Maria has told me what the locals are saying. That I broke Axel’s heart, that he ran away because I didn’t love him, that Leonard is a Svengali. Anthony laughs loudly.

ANTHONY Svengali! Our Leonard. Pied Piper but Svengali? That is pure fiction. A person who completely dominates another, usually with selfish or sinister motives. Sounds more like Axel! Leonard laughs. Marianne smiles demurely. ANTHONY Look,. Its time you two socialised as a couple. Hennessy is throwing a party at the weekend for the Countess’s birthday. He asked me to invite you both. What do you say? Leonard and Marianne exchange a long look.

66 INT. HENNESSY'S VILLA - NIGHT 66 The Countess and Tim are chatting with GUESTS. George is quite drunk and drugged up. Camera pulls back - reveals Leonard, Marianne, Charmain and Anthony. GEORGE Marianne! I’ve heard that you’re shacked up with Leonard. How’s your husband taking your adultery? George gives Charmain a barbed look. CHARMAIN He’s on LSD! Can you sort him out, Anthony! Charmain leads Marianne away. ANTHONY She’s been scorned by Axel. Leave the poor girl alone. GEORGE Our Jew boy here is taking advantage. LEONARD She knows what she is doing.

GEORGE You don’t know marriage, my friend. You know Lorca’s The Unfaithful Wife? LEONARD I know it. GEORGE And so, I took her to the river thinking she was a maiden, but she had a husband. It was the night of Santiago and almost like a date. The streetlights went out and the crickets came on. LEONARD What’s your point. George? GEORGE Husbands, Leonard. Wives cry foul and the white knights come running. They are not knights, they are coveters. They are robbers, looters, petty thieves stealing emotions. ANTHONY That’s enough, George. You need to straighten up. LEONARD Wives don’t belong to husbands. They are not household possessions. GEORGE That’s not what the bible says, is it? In Australia we keep our wives even when they get fat. Anthony is keeping his in London. Aren’t you, old boy? He laughs. Anthony downs his drink, says nothing. Leonard walks off.

67 EXT. HENNESSY TERRACE - NIGHT 67 Charmain is comforting Marianne.

MARIANNE What do we do, Charmain? CHARMAIN We take it a day at a time. Leonard approaches. CHARMAIN She’s fine .... Charmain leaves them alone - joins Anthony who is lecturing George. LEONARD Forget what George said. He’s angry with Charmain, not us. MARIANNE George is sick! LEONARD It’s the drink and drugs. MARIANNE Don’t ever get like that, Leonard. LEONARD I don’t intend to. MARIANNE You promise me? LEONARD Yes .... Leonard goes to kiss her. MARIANNE Axel is in Athens. Leonard pulls back. MARIANNE Patricia is in hospital. She needs an operation. LEONARD Why’s that your concern? MARIANNE He misses me. He’s not happy with her. He’s lonely. He wants me to go to Athens.

LEONARD No, Marianne. No! MARIANNE He needs me .... LEONARD You don’t need him! He puts his arms around her. Marianne pauses, reflects. MARIANNE I feel safe in your arms. LEONARD Axel is dangerous to your health. Stay away from him. MARIANNE You are so kind, Leonard. You let me be me. (reflects) Axel trained me to place my shoes in a row under our bed. He said I was undisciplined. If I made my shoes straight, everything would be okay with him. LEONARD He’s a manipulating monster .... Let’s go home. Leonard and Marianne turn to leave. The Countess and Yannis greet them. COUNTESS Please forgive my intrusion. In a few days time, Yannis is going up to the Monastery of Agios. I sense that you both would enjoy the solitude. YANNIS Please join me ..... Marianne squeezes Leonard’s hand. COUNTESS I have been many times. (To Marianne) (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 66. COUNTESS (cont'd) You must wear a veil in the monastery ... and sleep alone in a cell. MARIANNE What about my son? LEONARD We can ask Maria to look after him. Let’s do it, Marianne. Marianne nods.

68 EXT. LANE - NIGHT 68 Leonard and Marianne are walking arm in arm. LEONARD Cohen means priest in Hebrew. MARIANNE You are a little priest like, Leonard. LEONARD My father was the son of a Polish rabbi who founded the Canadian Jewish Congress. My mother is the daughter of a Lithuanian rabbi. MARIANNE Is that why we are going to a monastery? LEONARD I want to hear the monks sing. My mother taught me to sing the old Hebrew songs. When I went with my music friends to play, my mother would come, and we'd sing into the night. MARIANNE My mother wanted to be an opera singer. She became a housewife. LEONARD Your father? MARIANNE A good man but difficult. I don’t know what he did for a job when I was growing up. He’s an invalid now.

LEONARD Time takes its toll. MARIANNE What’s going to happen to us, Leonard? We should leave this island. We are not in control of what we do. LEONARD I’ll have to go back to the real world to get my novel published. My father’s trust money doesn’t go far enough. Not with these rich folk. MARIANNE I’m a burden on you. Maybe I’ll go back to Norway. LEONARD Don’t say that. If I went back to Canada, I’d raise some money and send you a plane ticket. MARIANNE Axel Junior too? LEONARD Of course. They climb the steep lane.

69 EXT. MONASTERY ROAD - DAY 69 The sun is high in the sky. YANNIS (dressed like a monk) is on foot. Marianne and Leonard are on donkeys. The vista of Hydra port lies behind them.

70 EXT. MONASTERY - EVENING 70 The monastery doors open. Marianne veils her face. FATHER NIKOLAI, a bearded old monk, greets them. FATHER NIKOLAI Yannis, my friend. They embrace.

YANNIS This is Leonard and Marianne. FATHER NIKOLAI You are welcome.

71 INT. MONASTERY CLOISTER - DAY 71 CHORAL SINGING Yannis leads Leonard and Marianne along a cloister. LEONARD It’s beautiful here. YANNIS The way to God is a search for peace. LEONARD Amen. YANNIS This island has a long history of war. Ships, men involved in the war of independence from the Venetians, the Ottoman Turks, the Germans. (contemplates) Many foreigners come here believing in the Greek ideal, our democracy, our love of liberty and freedom. However, the boundaries of freedom are also the gates to self- destruction. CUT TO:

72 INT. MONASTERY CLOISTER - NIGHT 72 Leonard and Marianne each have a lit candle. MARIANNE (whispering) This is our first night apart since we met. LEONARD I know. MARIANNE Come in with me ...

LEONARD I will see you in the morning. Leonard kisses Marianne good-night.

73 INT. MONASTERY CELL - NIGHT 73 Leonard lies in his bed. He is watching the candle flicker. CUT TO: Leonard wakes up. Marianne is kneeling beside his bed. MARIANNE (whispering) You will wake the monks. You were crying out? LEONARD I dreamed I was at the cremation of a poet. As the flames consumed him, his heart wouldn’t burn. It remained there beating. Marianne clings to him MARIANNE Oh Leonard... you have such a vivid imagination. You and your poets! She lays her head on his breast. LEONARD You’re clinging to me like a crucifix. MARIANNE Are we going to have three nights like this? Its torture. LEONARD I like it. MARIANNE Its a man’s world. God help us if we had to live like this all the time.

74 EXT. MONASTERY - DAY 74 Leonard and Marianne are leaving the monastery on donkeys. Father Nikolai and Yannis watch them depart. Marianne places a hand on her back and winces. MARIANNE I can’t wait to get home. To sleep in our own bed. LEONARD I feel rested. MARIANNE I’ve lost weight. LEONARD (shouts) Thank you, Yannis! YANNIS You are welcome, my friends! Leonard and Marianne wave. LEONARD (Sighs) ) Such a simple life. MARIANNE I’ve missed Axel. They ride on.

75 INT. LEONARD HOUSE - DAY 75 A letter sits on the table. Marianne is holding Axel, talking to him in Norwegian MARIA This arrived this morning. Maria hands the letter to Marianne. Leonard pays Maria. She is grateful. She puts on her shawl - departs. Marianne opens the letter.

MARIANNE It’s from my mother. She is not well. She wants me to go see her in Oslo. (pause) Axel is there too. Leonard does not take the news well. LEONARD She didn’t approve of you marrying him. MARIANNE No, but he is my husband. Axel is the father of her grandson. He has some rights. LEONARD I understand that .... MARIANNE I want to talk to him about money for his son. It will help us. LEONARD We don’t need Axel’s money. I’ll get a part-time job. MARIANNE You can come to Oslo with me. LEONARD I want to ... but I haven’t finished my rewrite. The Canada Council need to see something for their money. MARIANNE I have to go to Oslo, Leonard. I could be away awhile. LEONARD I know.

76 EXT. SQUARE - NIGHT 76 Marianne, Leonard, Anthony, Tim, the Countess, and Charmain are hosting a party for Marianne. Leonard gets up. LEONARD My dear Marianne is leaving us.

MARIANNE I’ll be back! LEONARD There! She will be back to our beloved island of Hydra. In honour of her departure, I have composed a song. Leonard lifts his guitar - puts the strap around his neck. Plays. LEONARD (sings) Come over to the window, my little darling I'd like to try to read your palm I used to think I was some kind of Gypsy boy Before I let you take me home Now so long, Marianne It's time that we began to laugh And cry and cry and laugh about it all again Well, you know that I love to live with you But you make me forget so very much I forget to pray for the angels And then the angels forget to pray for us Now so long, Marianne It's time that we began to laugh And cry and cry and laugh about it all again ...

77 EXT. PORT - DAY 77 .... SO LONG MARIANNE plays into the scene. The ferry is boarding its PASSENGERS. Marianne hugs Anthony and Charmain. Leonard hands her young Axel. There are tears in Leonard's eyes. LEONARD I’ll write. MARIANNE You better ....

Leonard says goodbye to Marianne. He says good bye to little Axel too. Marianne gets on the ferry. The Cohen friends stand on the dock and wave her goodbye. She is tearful - runs inside.

78 EXT. LEONARD HOUSE - EVENING 78 Leonard and Anthony are drinking heavily. ANTHONY We can’t live without them! LEONARD We’re both in love with married women. ANTHONY Propose to her and she’ll get divorced. LEONARD Its an impossible situation. ANTHONY Nothing is impossible in love, old boy. Anthony pours Leonard another drink. LEONARD What about Charmain? ANTHONY That is the one impossible exception.

79 EXT. POST OFFICE - DAY 79 Leonard picks up a letter from Marianne. Included is a picture of Marianne and Axel Junior. MARIANNE (V.O) Dear Leonard, I have arrived safely in Oslo. My mother is much better now but little Axel has flu, so I have put him to bed. (pause) (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 74. MARIANNE (V.O) (cont'd) The bigger Axel did turn up at my mother’s house and wanted to talk. I had no sense out of him. Patricia is still with him. I hope I see you in Oslo soon. All my love, Marianne.

80 INT. BILLS BAR - DAY 80 Leonard (dishevelled) is sitting with Charmain. CHARMAIN You’re a mess, Leonard. LEONARD I’ve written endless letters to her. CHARMAIN And ....? LEONARD She writes back, but its not the same. There are too many ways to read between the lines. CHARMAIN Do you remember when you first came to Hydra? And why? LEONARD To re-write my novel. I don’t like writing about people. Its depressing. CHARMAIN Have you thought of being a singer - songwriter? LEONARD No. CHARMAIN You could be a better singer than novelist. LEONARD Really? CHARMAIN You’re too much of a poet to be a novelist. You’re much better at lyrics.

LEONARD Poetry ... CHARMAIN Okay, lets call your songs poetry. Aristotle said ... LEONARD You’re quoting Aristotle to me? CHARMAIN I’m not just a pretty face, Leo. Aristotle, a Greek, said that poetry imitates things as they were or are, things as they are said or thought to be, or things as they ought to be ... LEONARD Yes, okay ... CHARMAIN Music imitates the emotions. It helps people understand the order of their emotions. (pauses) That’s you, Leonard. You write songs about your love affairs in order to understand them. LEONARD I won’t need to go to a shrink now ... (thinks) You really think that I should be a songwriter? CHARMAIN You are a songwriter! LEONARD I can’t write a song in ten minutes. It takes me ten weeks. You have to take the cards you’re dealt. CHARMAIN What’s your favourite line of poetry? LEONARD I found my thrill on Blueberry Hill.

CHARMAIN That’s a Fat’s Domino song .... LEONARD I’m up against the greats. Shakespeare, Homer, Shelley, Byron. I’m trying to share the room with them, not Fats Domino! All I know is that I miss Marianne. CHARMAIN Go to Oslo. LEONARD I don’t know.. I’m confused ... she’s confused ... Axel’s confused ... it’s a ménage a trois. Like you, George and Anthony. CHARMAIN It’s complicated. LEONARD Exactly! You make it complicated. It's women that chose the men, not the other way around. Men can’t do a single thing in their lives without the permission of a woman. CHARMAIN The Feminist movement would disagree with you on that. Leonard looks out on Hydra harbour. LEONARD (CONT'D) If men’s hearts keep on hardening .. if we lose touch with our spiritual selves ... then it’s the end of civilisation. CHARMAIN Jeremiah talk. Maybe you’ve had enough to drink. She takes his drink away from him. LEONARD If men continue to have hearts of iron .. then we are all doomed!

We hear Leonard sing to himself LEONARD (V.O) (song to be chosen) Bill comes over. BILL Okay, Leonard, we’ll get a donkey to take you home. Bill and Charmain help Leonard to his feet. LEONARD (continuation of song) They exit the bar.

81 EXT. LANES - NIGHT 81 Leonard is hanging on to a mule led by Charmain ...

82 EXT. LEONARD HOUSE - NIGHT 82 ... arrives outside his house. Charmain helps him down and to his door. LEONARD I’m okay, Charmain. I know the way from here. He straightens, kisses her on the cheek, stumbles forward. CHARMAIN Good night, Leonard.

83 INT. LEONARD HOUSE - EVENING 83 Leonard staggers into the house - falls on the bed - passes out.

84 INT. LEONARD HOUSE - DAY 84 Leonard, hung-over, writes at his table. LEONARD (V.O) My darling Marianne. Your letter came this morning after I despaired over your last one. (MORE)

Copyright Aug 2020 Palm Tree Universal / Hydra Films page 78. LEONARD (V.O) (cont'd) Little Axel is beautiful in the picture ...

85 EXT. LEONARD HOUSE TERRACE - DAY 85 He is sitting continuing with his letter. LEONARD (V.O) I hate not knowing what you are doing and feeling. I have written a lot of wild poems that I hardly understand myself. I look at your picture constantly and wonder how we have been apart so long.

86 EXT. SHORE - DAY 86 Leonard is walking the rocky shore. LEONARD V.O How strange it is to be here without you and to discover how much of the island is part of you, and how much is just rock and sun. I do not have to tell you how much I look everywhere for you.

87 INT. LEONARD HOUSE - AFTERNOON 87 The window is open. There is a bird sitting on a wire. LEONARD V.O Do you remember you saw that bird on a wire outside my window? FLASHBACK - Marianne is at the window watching the bird. LEONARD V.O (sings) Like a bird on the wire. Like a drunk in a midnight choir. I have tried in my way to be free. Like a worm on a hook. Like a monk in the old brotherhood. The shape of our love twisted me.

MONTAGE OF LEONARD and MARIANNE LEONARD (V.O) If I, if I have been unkind, I hope that you can just let it go right by, If I, if I have been untrue, I hope you know it was never to you. Like a baby, stillborn, Like a beast with his horn, I have torn everyone who reached out for me. But I swear by this song, And by all that I have done wrong, I will make it all up to thee. I saw a beggar leaning on his wooden crutch, He said to me, You must not ask for so much, And a pretty woman leaning in her darkened door, She cried to me, Hey, why not ask for more? Like a bird on the wire, Like a drunk in a midnight choir, I have tried in my way to be free ....

88 EXT. PORT - DAY 88 Leonard meets George and Charmain. For the first time we see their three KIDS. GEORGE How are you doing, kid? LEONARD Breathing. Going somewhere? GEORGE We’re leaving Hydra for good. CHARMAIN Back to the old life in Australia. Leonard gives Charmain a look of ‘why?’.

GEORGE The game’s over. We’ve lived well in this hell, but it’s time to go home to Oz. CHARMAIN George has a book coming out in Sydney. Big push on it. LEONARD Can I have a moment with you, Charmain? Leonard and Charmain have an aside. LEONARD What are you doing? CHARMAIN Its for the kids schooling. LEONARD What about Anthony? CHARMAIN His wife wants him back to live in London. He’s said yes. LEONARD Oh, Charmain. I’m worried about you. CHARMAIN I’ll be okay, Leo. Stiff upper lip and that. Leonard throws his arms around her. It is a tender parting. LEONARD It just won’t be the same without you. CHARMAIN You’ll get over me! Leonard laughs. The Johnsons put themselves on to the ferry. Leonard turns away.

89 EXT. HYDRA MONTAGE 89 Time-lapses to show the passing of time.

90 INT. STORE - DAY 90 Leonard (unkempt) enters the store and sees - JAKE WILLIAMS, a tall man in a light blue suit sitting at a table. LEONARD Are you Jake Williams? JAKE Yes. Leonard Cohen? Leonard takes a seat. JAKE I have come a long way to find you. Leonard sits back amused. LEONARD Are you sure I’m the right Leonard Cohen? JAKE I’ll get to the point.. your song Susanne has been a big hit in America for Judy Collins. My music company wants to buy the rights. Jake places a contract on the table. LEONARD What is this? JAKE It’s a standard publishing contract. LEONARD Really, what is it worth? JAKE One thousand dollars down payment. And royalties as long as people keep buying your song. LEONARD Is this real?

JAKE Very real. You’ve got other songs? LEONARD Poems mainly .... JAKE My bosses at Columbia would like you to come to New York. LEONARD Will you pay to get me there? JAKE Goes without saying. LEONARD You got a pen? Jake takes out a pen. JAKE Don’t you want to read it? LEONARD You look like an honest guy. Leonard signs the contract. FADE OUT:

91 EXT. PORT - DAY 91 Leonard’s suitcase is packed. ANTHONY We are the last of the good people here. LEONARD Goodbye, dear friend. ANTHONY These were the days, eh? LEONARD These are the days, Anthony. They embrace.

92 EXT. TRAIN BALKANS - DAY 92 A train speeds across the Balkans.

93 INT. OSLO HOTEL ROOM - NIGHT 93 Leonard is at the window. Marianne lies in bed sleeping. Leonard watches her sleep. LEONARD (V.O) I signed that contract and Susanne was gone for good. I never did see any royalties... not a cent. Leonard lies beside Marianne. He kisses her and caresses her hair. She wakes. MARIANNE Where have you been? LEONARD Dreaming ... And you? MARIANNE Dreaming about you .... He embraces her.

94 EXT. OSLO HOTEL ROOM - DAY 94 They are still in bed. LEONARD You are the love of my life. MARIANNE How do you know? You have another fifty years to live. LEONARD I just know. Can I sing you a song? MARIANNE Its not about leaving again? Leonard laughs. Picks up his guitar. LEONARD No, its about Axel. MARIANNE Axel?

LEONARD Its some of the things he wrote to you in his letters. MARIANNE Oh Leonard .... sing me So Long Marianne instead. LEONARD (sings) We met when we were almost young Deep in the green lilac park You held on to me like I was a crucifix As we went kneeling through the dark Marianne joins in the chorus. LEONARD & MARIANNE Oh, so long, Marianne It's time that we began to laugh And cry and cry and laugh about it all again .... FADE TO BLACK:

95 INT. OSLO HOSPITAL - DAY 95 CAPTION: Oslo, Norway 2016 OLD MARIANNE IHLEN, 81, pale, feeble, is lying in bed hooked up to a life-support machine. OLD MARIANNE (rasping) Do your best, Jan ... tell him I’m dying. He’ll understand. JAN CHRISTIAN, similar age, gathers her things, squeezes her hand in reassurance. JAN As soon as I get home, Marianne.

96 INT. COHEN APARTMENT - NIGHT 96 CAPTION: Los Angeles, California OLD LEONARD COHEN, 82, at his PC, opens an email. TEXT reads -

JAN V.O Marianne is dying, she is in the final stages of leukaemia. She asked me to write to send you all her love. Tears appear in Leonard’s eyes. He clicks REPLY and begins to type.

97 INT. OSLO HOSPITAL - DAY 97 JAN is standing by the window reading a print-out to Marianne. JAN/LEONARD(V.O) Dearest Marianne, I’m just a little behind you, close enough to take your hand. This old body has given up, just as yours has too. I’ve never forgotten your love and your beauty... [beat] But you know that. I don’t have to say any more. CU on Marianne. JAN Safe travels, old friend. See you down the road. Endless love and gratitude. Your Leonard. He hands her the print-out. Marianne clutches it, remembers the past. OLD MARIANNE Your Leonard. [dwells on the words] He was always my Leonard, from the moment we met ....

98 BLACK SCREEN CAPTION 98 Charmain Clift committed suicide in Sydney on 8 July 1969, the eve of the publication of George Johnston's novel Clean Straw for Nothing. He died the following year.

99 BLACK SCREEN CAPTION 99 Anthony Kingsmill died in London in 1999 from natural causes.

100 BLACK SCREEN CAPTION 100 Marianne ILHEN died in Oslo in July 2016. She and Leonard spent ten years together before separating. They remained life-long friends.

101 BLACK SCREEN CAPTION 101 Leonard Cohen died in Los Angeles four months after Marianne. During his fifty year career as a performer / songwriter, he released twenty-eight albums and forty-four singles. He remained an active writer of poetry until he died. CREDITS THE END