SOUND: The faint sounds of the St. Petersburg evening: a horse drawn carriage, a young couple laughing as they take a stroll, two dogs barking at one another...
The CAMERA LOOKS DOWN from above the front left corner of a moonlit writing desk. On the desk are writing quills, a knife for sharpening the quills, a jar of ink, blank manuscript paper and over 100 pages of manuscript filled with Russian text. Many portions of the text are crossed out, there are words in the margins as well as sketches, arrows, etc...
Add cast and crew credits.
SOUND: A match is lit.
SOUND: Approaching footsteps.
The WRITER places a lit candle on the desk.
The writer sits down at the desk. Only his hands are visible to the CAMERA.
The writer dips a quill into the ink and on a fresh sheet of paper writes the date and the opening lines of the first diary entry in Russian.
The CAMERA TRACKS around the back of the writer, blocking the view of the desk.
Add cast and crew credits.
From above the right corner of the desk, the CAMERA moves into a CLOSE-UP of the date and first lines of the diary entry which now appear in English on the page.
Poprishchin V.O.
October Third.
SOUND: A knock at the door.
Poprishchin V.O.
Something not normal happened today...
Cut To:
Facing the door of a small one bedroom apartment, the CAMERA LOOKS DOWN from above the far wall window. There is a body on the bed covered with a blanket. Next to the bed is a chair with a burned out candle. On the floor next to the chair is a copy of the "Northern Bee". At the head of the bed stands a small dresser with a mirror sitting on top of it. On the desk are writing quills, a knife, a jar of ink, writing paper, a vodka decanter, and some dirty dishes. To the left of the desk is a trash can, and a large stack of "Northern Bee" newspapers. To the right of the desk is an alcove with a wardrobe and a few boxes of books.
(In Scenes 1 through 104, the CAMERA is always shooting from above Poprishchin. The world looks down on Poprishchin, and he looks up at the world.)
SOUND: There is another knock at the door.
The body under the covers does not move.
The door opens and MAVRA, a short 50 year old matronly housekeeper of Finnish descent, waddles into the room carrying a basket. In the basket are a pair of well shined, well worn boots, laundered clothes, and a bottle of vodka. Mavra completes her morning chores with extreme inefficiency, showing no concern for the man sleeping in the bed.
Mavra puts down the basket by the door, takes out the boots, and drops them with a thud at the foot of the bed.
Mavra returns the chair and candle back to their places at the desk, dragging the chair across the floor.
Mavra goes back to her basket and takes out the laundered clothes.
Mavra puts the clothes away in the dresser.
Mavra picks up the newspaper from the floor.
Mavra throws the newspaper into the trash can next to the desk.
The CAMERA SLOWLY PUSHES IN towards Mavra as she fills the vodka decanter on the desk.
Mavra clears the dishes from the desk.
Mavra crosses to the door with the dishes.
Mavra stands at the door with the dirty dishes and stares with disdain at the motionless body in the bed.
Mavra drops the plates loudly into the basket in yet another attempt to wake up the man in the bed.
Poprishchin
(from under the blankets)
What time is it?
Mavra
It is well past ten.
The man does not move.
Mavra leaves, slamming the door behind her.
Poprishchin
Hhhhhmmmmpppphhhh.
Cut to: An arm emerges from under the covers.
POPRISHCHIN sits up in bed. Poprishchin, a forty-two year old Russian civil servant, pulls back the blankets that covered his body, and lethargically sits up in his bed, staring blankly into space. His depression has become so severe that he can not find the energy to get up and go to work. He is short with thinning hair, medium build and piercing eyes. His face is not visible to the CAMERA.
Poprishchin V.O.
(irritated)
After Mavra, my domestic, told me how late it was, I rushed to get dressed fast. I must admit I would rather have skipped the department altogether, knowing the sour look I was going to get from the Chief of my Division. For a long time now he has been saying...
Cut To:
Rising from behind his desk, the CHIEF OF THE DIVISION, a tall, thin meticulously dressed bureaucrat looks down towards the CAMERA with a look of concern. The Chief likes to run a tight ship, and although Poprishchin was never a stand out worker, he has of late become more and more difficult, and even less productive.
As the Chief speaks, the voice of Poprishchin comes out of his mouth.
Chief of the Division
(Poprishchin V.O.)
Tell me, my friend, why are you always in such a muddle? You rush around like a madman, and make such a mess of your work, the devil himself couldn't sort it out. You start paragraphs with a small letter and leave out the date and reference number altogether.
Cut To:
POPRISHCHIN stands by the dresser and puts on his pants.
Poprishchin V.O.
(continuing his tirade)
Ugly old buzzard. He must envy me for sitting in our Director's office and sharpening all of our Director's quills... So I wouldn't have gone to the department at all if not in hopes of seeing the cashier and to get even a small advance out of that greedy old Jew.
Cut To:
The CASHIER, a slouching mousey little man with spectacles, looks up from his papers.
Cashier
No.
The Cashier resumes his work.
Poprishchin V.O.
What a beast. For him to give me an advance on my own salary. God, my God! The Last Judgment will come sooner. ...
Cut To:
Poprishchin buttons his shirt.
Poprishchin
...Even if there's a dire emergency, oh, you can beg until something bursts inside you, he won't give in, gray-haired bastard. Yet at his home...
Cut To:
The CASHIER'S COOK, a huge busty woman, slaps the CASHIER across the face.
Poprishchin V.O.
...the cook slaps him around...
Cut To:
Three quick MEDIUM SHOTS of VARIOUS CITY DWELLERS turning their heads in reaction to the SOUND of the slap.
Poprishchin V.O.
...and the whole world knows it.
The PAPERBOY and the TAILOR turn their heads.
Cut To:
Standing by his booth outside of the Director's house, the POLICEMAN reacts to the slap.
Cut To:
ZVERKOV WOMEN #1, a 50 year old matronly woman, and ZVERKOV WOMAN #2, a young, pretty blond, look up.
Cut To:
OVER THE SHOULDER of Poprishchin combing his hair in the mirror on his dresser. The only part of his face visible to the CAMERA is a grin of vengeful delight.
Poprishchin V.O.
No...I can see no advantage in serving in our Department.
Cut To:
The civil service office is a large rectangular room. Along the front and side walls of the office is a one meter tall platform with a railing. Three steps lead down from the front platform to the main floor. On the left wall are four tall frosted windows which offer light but no view of the outside world. On the front wall of the office, looming above the clerks is a huge portrait of Tsar Nicholas I. The walls are covered with bookcases filled to the brim with documents.
The 24 CIVIL SERVICE CLERKS sit on the main floor in six rows, each four desks across. The clerks are arranged by their status in the office with the front most row reserved for those clerks destined to be promoted and the back row reserved for newcomers and those clerks with no hope for advancement. POPRISHCHIN sits in the far back right corner desk. Sitting one row in front and one row to the left of Poprishchin is an INSANE CLERK staring angrily into space, not moving a muscle. The CHIEF'S ASSISTANT paces up and down the aisles handing out new work and collecting finished documents. The CHIEF OF THE DIVISION sits in his office to the far back right of the clerks, directly above Poprishchin's desk. From his position he can keep a careful eye on his workers while they are unable to see him.
MONTAGE: A series of WIDE, MEDIUM, and CLOSE-UP SHOTS of the clerks and Poprishchin steeped in the drudgery of their work. These men are human copy machines, sitting silently at their desks, churning out their tedious tasks. The work that is piled high on their desks seems endless. The air is thick with a feeling of repression.
Poprishchin V.O.
No advantage at all... It's a different story in the City Administration, or in the Justice Department. There you'll see someone nesting in the corner, scribbling away. Oh, he may be wearing an ugly coat, and have such a face that one has the urge to spit on it, but then, just look at that summer house he rents. He won't accept a china cup for his services, it's at least a pair of racehorses for him to shuffle your papers. On the other hand, to serve in our Department does carry prestige. The people of the Justice Department have never dreamt of such cleanliness. We have mahogany tables and our superiors use the polite form of address.
Cut To:
With his back to the CAMERA, POPRISHCHIN puts on his hat.
Poprishchin V.O.
Yes, if it weren't for the noble work, I confess, I'd have left the Department long ago.
Poprishchin crosses to the trash can and takes out the "Northern Bee" that Mavra has thrown away.
The CAMERA TRACKS IN to a CLOSE-UP of Poprishchin placing the October 2nd "Northern Bee" on top of the pile of newspapers next to the desk.
He rubs the newspaper to remove the creases.
The CAMERA continues to TRACK IN to an EXTREME CLOSE-UP of an article with the headline: "Cows Ask For Pound of Tea"
SOUND: Poprishchin walks out of the apartment and closes the door.
Cut To:
Music cue: "Zverkov House Theme". The solo trumpet theme from the opening returns now accompanied by a small orchestra of violins, viola, cello, bass, clarinet, oboe and flute.
It is a grey, rainy day.
With Zverkov House visible in the background, Poprishchin opens his umbrella under the archway and leaves for work.
Cut To:
POPRISHCHIN crosses through a pair of arches that are located on opposite sides of a small city street. On the street, a few PEASANT WOMEN are walking, some carrying umbrellas, and a few holding their skirts above their heads.
The arches are the entrances to the courtyards that Poprishchin uses as his path to work, a path that allows him to avoid contact with the city's pedestrians.
Cut To:
Poprishchin passes through another set of courtyards, crossing over a busier street where MESSENGERS carrying letters and packages share the sidewalks with PEASANT WOMEN and STREET SWEEPERS.
Cut To:
POPRISHCHIN turns a corner into an alley.
The CAMERA PANS and TRACKS behind Poprishchin as he approaches a PAPER BOY standing SCREEN RIGHT on Nevsky Prospect at the end of the alley. Across Nevsky is Gostiny Dvor. Nevsky Prospect is not particularly crowded on this rainy morning with its small assortment of MERCHANTS, BUSINESSMEN, MESSENGERS, and CITY DWELLERS.
The CAMERA FINISHES TRACKING with Poprishchin as the Paperboy hands him a copy of the October 3rd "Northern Bee".
Cut to CLOSE-UP from directly above Poprishchin and the Paperboy: Poprishchin hands the Paperboy a few rubles for a copy of the "Northern Bee".
The headline reads: "DON CARLOS, HEIR TO SPAIN, DEAD". The article below reads: "SCIENTISTS BAFFLED BY TALKING FISH".
The CAMERA TILTS UP to reveal the CHIEF'S ASSISTANT carrying an umbrella and leather attache, following an attractive YOUNG WOMAN across the street.
Poprishchin V.O.
Oh, you are not on the way to the office, are you? You're chasing after that one trotting along and it's her legs your eyes are on.
The CAMERA TRACKS to the middle of Nevsky Prospect closing in on the Chief's Assistant and the Young Woman.
Poprishchin V.O.
What rogues civil servants are! I swear... They're as bad as any Army Officer, latching on to anything in a skirt.
Poprishchin enters from behind the CAMERA and watches the Chief's Assistant close in on his prey.
Cut to POPRISHCHIN'S POV: The Young Woman's behind.
SOUND: The deafening roar of a quickly approaching horse drawn carriage.
Cut to: Poprishchin looks with fear SCREEN LEFT.
Cut to: A HORSE DRAWN CARRIAGE charges towards the CAMERA.
Cut to: Snarling horses.
Cut to: Poprishchin flees from the carriage which nearly runs him over. (From Paperboy side of Nevsky.)
Cut to: Poprishchin runs from the carriage, closes his umbrella and stands at the corner of the building. (From Gostiny Dvor side of street)
The carriage stops in front of the mall.
The CAMERA SETTLES OVER THE SHOULDER of Poprishchin.
The FOOTMAN comes around from the rear of the carriage and opens the carriage door.
Music Cue: "Grusha's/Sophie's Song", a beautiful song of love and longing.
Cut to: MADGIE, an overly groomed white miniature poodle, jumps out of the carriage and sneezes as she waits at the footman's side.
The CAMERA TILTS UP to a foot appearing from out of the carriage and onto the carriage step.
The CAMERA continues to TILT UP the leg to the back lit face of SOPHIE. She appears as an angel, her face obscured by the blinding light that shines behind her.
Cut to: With the light from the carriage glowing on his face, the CAMERA TRACKS IN to an EXTREME CLOSE-UP of Poprishchin. He is stunned.
Poprishchin looks SCREEN LEFT.
Cut to: The CAMERA TRACKS with Sophie as she walks from the carriage, through the arches, across the corridor, and into a CLOTHING STORE. She is greeted at the open door by the CLOTHING STORE SALESMAN.
The CAMERA TILTS DOWN as Madgie unsuccessfully attempts to run into the store before the door is closed. Madgie whines and presses her nose against the bottom of the closed door.
The CAMERA TRACKS BACK along the corridor. With his nose pressed up against the store's side window, Poprishchin peers into the shop, his breath fogging up the glass.
Inside the shop, the frilly dresses stand on display beside the various essentials of aristocratic femininity: perfume bottles, flowers, hairbrushes, mirrors, and fine lace stockings.
The CAMERA TRACKS around the corner of the store where Poprishchin continues in vain to catch a glimpse of Sophie.
Fido
Hello Madgie.
Poprishchin looks SCREEN LEFT.
Poprishchin
I'll be damned. Who said that?
Cut to POPRISHCHIN'S POV: ZVERKOV WOMAN #1 and ZVERKOV WOMAN #2 walk by the corner of the store chatting incessantly.
The CAMERA TRACKS around the corner of the store to watch the two women as they walk down the corridor.
Fido
Shame on you Madgie.
Poprishchin
What the?
The CAMERA PANS LEFT and DOWN to reveal Madgie and Fido sniffing each other's rears at Poprishchin's feet.
Cut to: Poprishchin is baffled.
Poprishchin
Oh, ah...heh, heh, I uh, I'm not drunk.
Madgie
No, Fidó, you're wrong.
Cut to POPRISHCHIN'S POV: Madgie is speaking to Fido. Her mouth actually forms the words...
Madgie
I ha(av), I ha(av), I have been very ill. (av) (ack)
Poprishchin
Well fancy you, you little doggie.
Madgie
But I did write to you, Fidó. Evidently, Rover didn't deliver my letter.
Cut to: Poprishchin looks incredulous.
Poprishchin V.O.
Now I'd be willing to forfeit a whole month's pay if I've ever heard of a dog that could write! Only a nobleman can write correctly anyway.
Cut to: The two Zverkov women, lost in their incessant chatting, notice that Fido is no longer following them. They turn around and come back for Fido. They ask the footman for help with Madgie.
Zverkov Woman #1
Fido, it is time to say goodbye to your little friend. Sir, would you be so kind as to help us?
Footman
Certainly. Madgie, come here.
Poprishchin hides himself back by the side window where he sees the SALESMAN writing a receipt.
Poprishchin V.O.
I will confess that recently I have been seeing and hearing things that no one else before has ever seen or heard.
Poprishchin peaks around the corner and sees the two Zverkov women exit through one of the arches.
The footman carries Madgie back to the carriage.
Poprishchin opens his umbrella and follows the two ladies, carefully keeping his distance so not to be noticed.
Music Cue: "Zverkov House Theme" — the cue is increasing in tempo and intensity.
Cut To:
POPRISHCHIN follows the TWO LADIES as they turn onto Gorokhovaya Street...
Cut To:
...then Meshanskaya Street...
Cut To:
...and down Stolyarny Lane.
Cut To:
The TWO ZVERKOV WOMEN arrive and enter Zverkov House, their apartment building.
POPRISHCHIN enters from behind the CAMERA and looks up at the house.
The CAMERA TILTS UP the side of Zverkov House.
Poprishchin V.O.
I knew this house. It's Zverkov House. What a dump. Everybody seems to live there, all sorts of foreigners: cooks, Poles, civil servants. They live like dogs, one on top of the other.
The CAMERA climbs up the building and reveals a TRUMPET PLAYER in his third floor window. He is the source of the score's trumpet, playing the music that has accompanied the journey from Gostiny Dvor.
In a fourth floor window, a CLEANING WOMAN is shaking the dust from a rug.
Zverkov Woman #2 lights a lamp in a fifth floor window.
Cut to: The CAMERA shoots down on Poprishchin from the fifth floor window.
Poprishchin is counting on which floor the lamp is located.
Cut to: Poprishchin stands outside Zverkov House with Kokushkin Bridge and Poprishchin's Apartment in the background.
Poprishchin V.O.
"Fine," I thought, "I won't go in now...
Cut To:
As the final words of the first diary entry are written on the page, Poprishchin says...
Poprishchin V.O.
...but I'll make a note of this place, and I'll just wait for the first opportunity.
Fade to Black.