One Day In Limbo.
©
2004 Matuschka
Here are the first 19 pages of
the 132 page movie script.
Gabi and
Auntie enter
the hall, where Gabi uses the second key to unlock her room,
INT ROOM DAY
They enter Gabi's room,
which is furnished with a bed, wardrobe, dresser, table, three wooden
chairs,
nightstand, and a bookshelf. A clean,
cheap, well worn rug and a runner cover part of the hardwood floor. There is a small radio, and a couch with
three pillows, obviously homemade, standing at the wall.
Gabi drops the keys, letter and purse on the
dresser and checks her appearance in the mirror.
AUNTIE
You
didn't have to come to the station...
Pausing, she
glances
about the room.
AUNTIE
(CONT'D)
... how clean and tidy you manage to keep this
room, without a vacuum cleaner!
Auntie shakes
her head
in wonder, then takes off her topcoat, hat and gloves.
Gabi takes them and puts them away in the
wardrobe.
GABI
You
know! I can't stand a filthy place.
She moves a
flower pot
from the table tot he window sill
GABI
(CONT'D)
Auntie
please sit down, I am so excited...
Gabi takes
the envelope
from the dresser, stares at it for a moment, then tears it open with
quick
nervous movements..
GABI
(CONT'D)
Excuse
me, I must find out what it says, maybe I can go with you now.
Auntie nods
her
head. Then she fetches her purse, she
takes a small leather case from it, containing needle and thread. These she uses to sew the button back on her
topcoat.
Gabi reads the letter
and saddens, then agitatedly breaks out,
GABI
(CONT'D)
Ach
Auntie, they turned me down again. Now
I'll never get out of here,‑ it's like being in a grave.
Why do they do this to me? This is
the third time.
Gabi's
excitement
increases to near hysterics.
GABI
(CONT'D)
And
I have run out of reasons for needing a passport,...
GABI
STRAIGHTENS THE RUG
GABI
(CONT'D)
...
besides by now they are surely getting suspicious.
Even if I think up the most perfect
necessity, it'll never fool them when they see it's my fourth try... beat
GABI
(CONT'D)
Aunt
Hella, what am I going to do ?
Auntie gets
up to
comfort her.
AUNTIE
Now,
now. Wipe your tears.
I know it's terrible, but think, you are
healthy and you eat. Things are much
improved, even here. And remember: Kommt
Zeit, kommt Rat! Forget about it for the moment. I
have brought you a few little
nothings. Come here, let me give them to
you.
GABI
Aunt
Hella you should bring nothing, Auntie, but yourself.
Gabi gets up
from her
chair and walks back and forth, rapidly touching furniture pieces with
her
finger tips. Auntie hands Gabi six pairs
of stockings. Gabi embraces Auntie.
GABI
(CONT'D)
It's
not the lipstick, the stockings or chocolate I need.
It's the breath of fresh, free air that comes
with you. To know you have come of your
own free will, and that you can leave home, to go when and where you
like. Look at me! Do you see this?
Gabi walks to
the
nightstand where an official looking envelope has been lying. She picks it up and continues to walk, waving
it in the air excitedly. Auntie mumbles
something unintelligible and tries to calm and appease Gabi, ends with
AUNTIE
... God know how beat
GABI
Here!
Gabi slices
the air with
the letter.
GABI
(CONT'D)
They
tell me to take a vacation.
Auntie's face
brightens,
then looks helpless when Gabi carries on.
GABI
(CONT'D)
They
tell me to take it next week; they tell me where to go, which train to
take. At what hotel, how long to
stay. What to wear, when and where. When and how to return. And
I have three days notice. This leaves me
with the freedom of a dog at
the end of a chain! beat
GABI
(CONT'D)
I
know it's not just only I who has got this...
Gabi slides a
finger
back and forth inside an invisible collar around her neck.
GABI
(CONT'D)
...thing
around the neck, but I can't bear it; it drives me crazy!
Gabi raises
her fists to
her head and knocks them against her temples.
GABI
(CONT'D)
I
am having nightmares Aunt Hella.
GABI THROWS
UP HER ARMS
GABI
(CONT'D)
I
thought I'll get used to it, but it just feels worse, and worse, and
worse.
It's all so hopeless. It has gotten so,
that I would give my body and soul to break out of it, and I am
starting to
believe it would be a bargain; because, if this keeps up much longer,
I'll do
something stupid, loose both, and still be here.
With these
words, Gabi
extends both hands out in front of her, palms up, in a gesture of
despair.
AUNTIE
Gabi!
I don't know what to tell you. I don't
know what to do. How can I help you? I
am just a woman, getting on in years. I
even have trouble to get all the papers filled out, so that they'll let
me come
and see you. I can't even think..
Auntie slows
to a stop,
looks for her bag, some degree of hopefulness shows in her face, mixed
with
contained excitement. She digs into her
purse.
AUNTIE
(CONT'D)
Wait,
wait. Do you remember your cousin
Gottfried? He is really a cousin once or twice removed, but still, it's
family. Your uncle told me, how
Gottfried crossed those borders, never a passport, just like a shadow.
Gabi listens
with a look
of excitement and curiosity on her face.
GABI
What
do you mean? Who is it? That one? But he died in
AUNTIE
No,
no. Ach, you were too small to
remember. They left to go to the
Auntie
brandishes a news
clipping in one hand, her glasses in the other.
She fumbles until she succeeds in putting the latter on her nose.
AUNTIE
(CONT'D)
I
hope. If anyone can help you.
It should be him...
GABI
Ach,
Auntie.
Gabi looks
over Auntie's
shoulder at the clipping.
GABI
(CONT'D)
Do
you really think he could? It's so far away... .
It would be wonderful.. . But I
just don't see how.
AUNTIE
Shht,
now come and don't fret. Neither do I,
but we must try it. He is a man. Besides
he must surely have some connections or influence; or at least money.
There
must be something he can do. I just know
it. They were so resourceful getting in
and out when all the borders were closed.
And in those days, you could not even get a passport.
Gabi shakes
her head in
disbelief
GABI
But
how... ?
Gabi nods her
head
musingly.
GABI
(CONT'D)
Just
like me. No passport; and still they get
out. No... . It couldn't have been; with
the wall, the guards and those dogs.
It's not the same. You must have
papers; they catch everyone that tries without.
AUNTIE
I
don't know, Gabi. It's not true. The Hamburger Zeitung writes, in spite of
wall and towers, hundreds make it every year, in just as many different
ways.
AUNTIE LOOKS
OUT THE
WINDOW
AUNTIE
(CONT'D)
Why
don't you write him a letter?
GABI
Nein
Auntie, I am scared. You write, I don't dare put it in the mail. There is supposed to be no censorship, no
reading of the mails. But after this...
Gabi lifts
the letter of
refusal from the passport office.
GABI
(CONT'D)
... I have lost my nerve. I'll
be all right again, but Aunt Hella,
please. You understand I cannot wait,
and then, we are not even sure it's him! Think, if this is someone else
with
the same name.
Gabi puts a
hand up to
her cheek, lifts her shoulders and shudders.
GABI
(CONT'D)
It
gets out and I will have to stay forever.
AUNTIE
Now,
don't you worry. I'll write..., I'll
write...
Auntie turns
thoughtful.
AUNTIE
(CONT'D)
Though,
it's not a common name, especially the two together. ...it couldn't
be... .
We'll be sure soon enough!
GABI
Aunt
Hella, let me know as soon as you hear from them..?
I do hope there is a way...
Gabi trails
off into a
hysterical mixture of fear, despair and hopeful happiness.
GABI
(CONT'D)
Ach
Auntie Hella...
Auntie looks
at her
watch.
AUNTIE
Shouldn't
we go and buy something to eat, before the delicatessen closes?
GABI
Oh,
ja!
Gabi speeds for topcoat,
and holds it out for Auntie to slip on.
GABI
(CONT'D)
Let's
hurry, or we'll be late. I forgot. How stupid.
I have hardly enough for dinner.
No milk not a thing for breakfast; and you know how hungry I get
when I
am nervous.
Gabi rushes
out, handbag
and gloves in her hand.
INT BUILDING DAY
AUNTIE
Now
wait. Don't forget to lock the door!
The door
closes. There is the sound of a key
turning and a
lock snapping.
TIME
DISSOLVE
An
open hall window through which the first noises of a wakening city can
be
heard. A door slams, then the sound of
footsteps receding. A motorcycle starts
up, the throttle advanced for a few seconds of warm‑up, then it drives
off with
the normal sounds of shifting through gears.
In succession four doors open and slam, close enough for the
sound to
come in through the window; and the steps of the early risers fade into
the
distance.
Auntie sleeps
on the bed‑couch. Gabi in bed, is about to
wake up, opens her
eyes and looks at the clock, at Auntie and at the calendar. Quietly she
slips
out of bed and slowly and thoughtfully tears a leaf off the calendar
for the
new day. Auntie opens her eyes at the
sound.
AUNTIE
Good
morning, dear.
GABI
'morning,
Auntie, how did you sleep?
Gabi pulls
the blankets
straight
GABI
(CONT'D)
Did
I have a nightmare!
Gabi pulls up her
shoulders and shakes.
AUNTIE
Tonight
you'll sleep at the
Auntie takes
the
timetable from her bag. Gabi sits down
on the bed couch with her and pulls up her legs under the flannel
nightgown.
GABI
I
don't know what I would do month in month out without your coming. There is nothing much to look forward to,
other then seeing you. You are the only
link to the outside. I can't stand to
think how hopeless it all is... So I take courses at night school, for
something to take my mind off all this.
Gabi
emphasizes the last
word and her eyes fasten on the Ulbricht stamp, on her vacation march
order. She takes it and pulls out the
letter
and tickets.
GABI
(CONT'D)
My
train leaves at eight‑fifty to night.
When does yours?
AUNTIE
There
is one here at
Auntie and
Gabi get up
and dress.
GABI
Ach
Du, that's just perfect. The office
closes at
Gabi claps
her hands.
GABI
(CONT'D)
We'll
have all afternoon to ourselves.
Gabi leaves
the
room. She returns with hot water, bread,
rolls, jam in a glass jar. Then fetches a half full milk bottle from
the inside
of the double window.
Auntie smells the milk.
AUNTIE
It's sour‑
GABI
I'll
borrow some.
INT HALL DAY
Gabi goes into the hall,
knocks on the next door and raises her voice.
GABI
Herr
Lechner, ... can I have some of your milk?
HERR
LECHNER
Haa?
Your
milk, can I have some?
HERR
LECHNER
Yea,
put the kettle on for me, will you?
INT LECHNER
APARTMENT
DAY
GABI
Yes,
thank you.
INT GABIS
APARTMENT DAY
Gabi returns with the
milk and confides in a low voice to Auntie while putting tea into the
hot
water.
GABI
He
is a Commie ‑, I wish he would go to
AUNTIE
Why
ask him for milk, there are others, no?
GABI
Yes,
but he keeps himself clean.
Frau Schulz doesn't know they invented soap
and Marie is gone; besides she never has anything I need.
Gabi pours
two cups of
tea and sips from hers.
AUNTIE
You forgot
sugar.
Auntie drops
two lumps
into Gabi's cup, Gabi nods,
GABI
...as
soon as we've had lunch, we'll go to the Zoo,
there no one is listening at the keyhole.
There we can
talk and
you can tell me about this cousin.
Gabi looks at
the clock.
GABI
(CONT'D)
Wow. I've got to make tracks.
Gabi gulps
down her last
tea.
GABI
(CONT'D)
Afterwards,
I will take you to the station. And then
I only have to wait for my vacation train.
Unthinking,
one hand
goes to her neck to tug at a nonexistent necklace, then to the
breadroll from
which she takes a bite, in one hand, purse in the other.
GABI
(CONT'D)
I
love you Auntie.
Gabi embraces
Auntie,
kisses her cheek. She turns, in leaving,
questioning.
GABI
(CONT'D)
You'll
be all right?
Just
fine, don't be long dear.
GABI
Right
after twelve.
Gabi grabs
her coat and
scarf and leaves.
INT RAILROAD STATION DAY
The station is busy with
people going for their trains. Auntie, dressed for travel the way she
came and
Gabi in lightweight trench coat, gloves, scarf, jersey dress, and pumps. Both carry umbrellas. Gabi
carries a two suiter and a small
blanket. The clock strikes six, when
they walk into the railroad‑station.
Gabi checks her luggage with the CLERK at the
Gepäckaufbewahrung and
receives a ticket.
GABI
Thank
you.
They walk on
towards the
platforms.
LOUDSPEAKER
Schnellzug
nach Berlin, Bahnsteig sechs.
The voice
sounds tinny
with too many speakers, and noise of paper being crumpled; and someone
clearing
his throat comes over the system before it is shut off.
LOUDSPEAKER (CONT'D)
Zug
nach Eisenach, Ehrfurt Anschluss nach Frankfurt auf
Bahnsteig fünf.
GABI
That
was yours, on five.
AUNTIE
Did
he say five?
Yes. Here, let me carry that.
Gabi relieves
Auntie of
her overnight case. They walk faster
now, up the stairs.
EXT RAILROAD PLATFORM
DAY
A roman number five is
posted. The speaker comes on and clears
his throat.
LOUDSPEAKER
Herr
Hauptmann wird zur Auskunft gebeten. Herr
Heinrich Hauptmann zur Auskunft
bitte. beat
LOUDSPEAKER
(CONT'D)
Achtung!
Schnellzug nach Berlin über Halle, Magdeburg,
Potsdam, auf Bahnsteig acht.
EXT POST
OFFICE DAY
Auntie walks to window
number three in the post office. She has
an envelope in her hand, addressed to Gottfried Cordelius,
The camera shows a
globe, turning
EXT MAILBAOX
DAY
NICKS hands, age 25,
work the combination of a P.O. Box, removing the mail.
He closes the box and goes to his car to
drive away.
EXT
On the fat horizontal
branch of a tree, Freddy age 30 to 40
sits dressed in dull‑green nylon pants. His feet in
desert‑boots,
dangling down , a large brimmed sports hat on his head.
A fair breeze bends wild
oats growing beneath him and blows in his face.
He lifts the bolt action 30.06 with scope, to his shoulder and
with calm
face scans the object of his interest, a deer watering place, with deer
tracks running
from it to the undergrowth, nearby.
POV Through the scope,
follows the tracks to where they disappear.
A low noise off to the side diverts his attention.
Now the scope shows a buck deer, coming from
the cover on the trail leading to the water.
Freddy moves his eyes to
watch a mountain lion, which also is on it's way to the water. The cat
has a
glimpse of the approaching buck and without a break in it's stride,
moves to
keep some heavy foliage between itself and the deer.
The buck drinks while the cat stalks it.
POV Freddy watches
through the riflescope, holding once the buck, then the cat in the
cross hair;
once more the deer's shoulders are in the crosshair, then the cat's.
The gun bucks in his
hands. His right hand works the bolt
smooth and fast. The buck, now in the
crosshair, has stopped making a last effort to keep it's legs from
buckling
under him.
Freddy snaps the hood
over the scope, hangs the gun on the strap, from a stub of a branch. He
stretches his hand for a thermos bottle, uncaps it and adds a shot from
a
hipflask, before drinking from it contentedly.
When he is through with the beverage, he glides off the tree,
takes
rifle, thermos and a folded oilskin from below the tree and goes to
skin the
kills. He packs the antlers, venison,
and the cat's skin into the oilskin and moves it downstream
EXT
At a small lake, there
is a float plane tied down at a plank reaching out.
There he packs all into the 180 Cessna while
the Tina age 20 swims towards him.
TINA
Haw
Freddy! You finally missed.
FREDDY
Missed
what?
He walks to
the end of
the float to help her out of the water.
TINA
I
heard it, ‑two shots.
FREDDY
Oh
that.
He holds out
a hand to
her.
TINA
Don't
look, I've got nothing on.
FREDDY
I
know, it looks good on you.
They both
stand on the
float now. He takes her
head in his hands, looks into her eyes,
kisses her on the corner of her mouth,
strokes her and turns back to the cabin from where he hands her
a
towel. Then he returns to the shore and
fetches her clothes, blanket and a picnic basket. She
watches him while drying herself. There is
tenderness in her face.
TINA
A true,
solid weakness. It makes you
human.
FREDDY
You
had doubts ?
His hands
form a
seat under her and he lifts her up and
inside the plane.
TINA(CONT'D)
Huh!
FREDDY
You
have gained weight.
She looks at
him, sees
his smile and smiles too.
TINA
You
beast.
Back
to the inhuman?
She is quick
and certain
when she retorts.
TINA
No,
that is out now. Do you know, since we
have met this is your first failure?
She pats the
rifle. Freddy gives her a questioning look. She shrugs her shoulders.
TINA
(CONT'D)
Well,
a miss anyway. Till now, I had a growing
fear that you bagged me too. You see!
Take aim! Fire! One shot, and then you carried me away, like this one.
She had gone
through the
motions of imitating the action of aiming and firing, squinting one eye
and
pulling a hooked index finger back on the trigger.
TINA
(CONT'D)
Like
some good sport, before the season opened on these.
She indicates
the bundle
in the back with one hand, while buttoning her blouse and slacks.
TINA
(CONT'D)
But
you didn't, did you?
Freddy is
busy going
through the preflight check.
FREDDY
There
are these perfect and rare moments, as when you climbed out just
before...
Freddy looks
back while
moving the rudder, and pauses for three seconds.
FREDDY
(CONT'D)
I
should have hated to miss that.
She stops
dressing for a
moment, and with the sweater over her head and her arms outside it, she
pulls
his hand to her cheek, then kisses it and gently puts it back on the
controls.
TINA
Why
do you go so many different places to hunt? I like this one best. Why not hunt here, always?
FREDDY
I
reside in four states, each has a limit on deer.
Freddy winks
an eye at
her.
TINA
There
is no limit on girls!
Freddy smiles
bemusedly.
FREDDY
For
me there is!
SHE SMILES AT
FREDDY,
TINA
Oh,
really...
Yes;
two a week.
INT/EXT
CESSNA DAY
Freddy turns the key and
the engine turns over and starts running.
The girl boxes his arm in mock.
The plane runs downwind to the far side on the step. Without slack in pace it turns
into the wind. The flaps come down
all the way. One float lifts out of the
water, then the
other, seconds later a steep ninety degree turn into a clearing and
they are
gone.
TIME
DISSOLVE
Down
below is the
EXT PLANE
DOCK DAY
They tie up and unload
the plane. Freddy pulls the mountain‑lion
skin from the package and hands it to her.
FREDDY
Here,
Susan, a rug for you.
She takes the
skin and
her eyes are on the antler. She is
surprised, then laughs.
TINA
What
a gasser! So it was a hit after all.
Both shots!
Looking at
the skin in
her hands. The two are walking to the parking lot carrying their stuff
TINA
(CONT'D)
What'll
I do with it now?
FREDDY
Have
it cured ‑‑. It'll keep you warm
when I
am not around
TINA(LOW)
Thank
you, Freddy.
SHE PAUSES IN
HESITATION, THEN
TINA
(CONT'D)
Freddy,
I wish you wouldn't call me Susan.
FREDDY
(ABSENTMINDEDLY)
You
do?
TINA
Why
do you do it?
FREDDY
Do
what, Susan?
TINA(EXASPERATED)
That!
That! Calling me Susan. It's all right
that you pay no attention when I talk to you, but please call me by my
name,
... please?
FREDDY
Which
one?
TINA
Tina. Is Tina a bad name, Freddy?
Do you hate it?
FREDDY
No
Tina, is fine.
TINA
If
you hate it, you can call me anything.
Anything but Susan.
FREDDY
It's
done.
TINA
And
Freddy, ...
FREDDY
Yes?
TINA
Some
day, when you don't want me around anymore; will you tell me? So I'll
know it's
time to go? I wouldn't want to hang around and not know it's all over.
FREDDY
You'll
know.' I can give you my love and
affection, but if it's gone, there is nothing left.
Not even pity. But why bring this
up now?
TINA
I've
been thinking about us. You and me. And I know, my mother never had anything like
this. Just work and children.
Never more than an hour at a time, to think
and enjoy.
FREDDY
Much
has changed since then. There was much
fear in people's minds; fear and
anxiety.
TINA
Yes,
I see it now. Would you believe I was
scared myself, before I met you. But
that's all over. You can see what
knowing you means to me. You; and the
pill!
EXT PARKING
LOT DAY
Tina smiles
impishly. The two are arriving at their cars.
Freddy carrying his gear, Tina the cat skin and the picnic
basket. Freddy stashes his things in the
trunk, slips
out of his wide pants, he wears gray flannels underneath, throws them
into the
trunk and exchanges his dessert‑boots for a pair of loafers. With a wave of his hand for Tina, Freddy gets
into his car.
FREDDY
See
you later!
After
a while.
She throws
him a kiss,
and drives off.
EXT. CARPORT DAY
Freddy drives into a
carport. He unloads the venison.
INT HOUSE DAY
Freddy loads the venison
into a freezer, stows his gear into a cupboard and takes his rifle
INT LIBRARY DAY
Into the library, where
he gets a cleaning‑kit from a drawer and starts cleaning the weapon.
Nick
Frontenac, Freddy's
cousin, sits across the room reading the mail.
NICK
There
is one for you. It looks like private
mail, female hand.
Freddy walks
over to
look at the envelope.
NICK
(CONT'D)
Well
who could that be?
FREDDY
Why,
that's Auntie. Would you believe it. She
must be almost sixty. I bet we haven't
heard from her
(beat)
FREDDY
(CONT'D)
...since
we left the Continent. Open it! Come on,
lets see what she writes.
Nick opens
the letter
and Freddy stops polishing the rifle and reads looking over Nicks
shoulder.
NICK
A
cousin named Gabriele... . I didn't know we had one!
FREDDY
Cousin? Well, kind of. We
have her picture, where she is two
years old.
NICK
The
one where it says 'Gabi' on the back?
Yes. That's the one.
AUNTIE'S
VOICE IS HEARD,
WRITING THE LETTER ‑
... and here you have it in a nutshell. Gabi is slowly cracking. With the political
situation as it is, she one day goes too far, they will put her away. After that, as we well know she'll be
finished as a human being.
I have for
years felt my
age, but lately this trip across is becoming more and more of a
hardship for my
weary bones.
She's
mad; poor Auntie.