(being a scenario of the many and varied
adventures of the Woodcarver and the King
- reminiscent of Hector Mallot's "Sans Famille"
& Paul Gallico's "Love of the Seven Dolls".)
by The Woodcarver
For a synopsis Click Here
Note: Many of the illustrations can be animated by
clicking on them. To listen to the songs click on their
titles. To return to the story, click the top page closed.
FADE IN:
EXTERIOR OF LIGHT AIRCRAFT's OPEN SIDE DOOR - MEDIUM SHOT - DAY
DRONE of aircraft engine is heard as titles appear against the barely recognisable out-of-focus shot. INSTRUCTOR's voice BARKS from time to time.
INSTRUCTOR
Go!
A blurred figure leaps from the aircraft door. This routine is repeated several times as student skydivers exit. When the titles come to an end, the focus sharpens and the last student leaps. The instructor, crouching in the doorway, is seen looking down, following the student's progress. He gives a satisfactory nod, and turns to address someone in the aircraft's interior.
INSTRUCTOR
Cluck cluck, better follow my chicks.
He leaps. The doorway is empty. Just visible beyond it, we see the PILOT with headphones on. ANOTHER SKYDIVER, a tall, foreboding man, approaches the doorway with the liquid movements of a somnambulist. His thumbs appear on the rim as he steadies himself. He looks down, then turns his head in the direction of the pilot, who now turns to look at the middle-aged, bearded and moustachioed skydiver. Focus sharpens on the pilot, who makes an upward spiral with his right hand, index finger pointing upwards. Focus pulls back to skydiver, who signals four kilometres by holding up four fingers of one hand. Wisps of white cloud come between the camera and the aircraft. During a white-out the DRONE of the engine changes tone, indicating the passage of time. The cloud clears and we see the skydiver in the open doorway again. Slowly his hands move to the chest strap of his harness, which he unbuckles while staring absently into the distance. Now his hands move to the large buckles of his thigh straps, and he unclips these too. The DRONE of the engine increases in volume, and a FRENETIC DRUMBEAT kicks in. The skydiver's hands have moved to the shoulder straps. The absent look is shed, and a look of peacefulness appears to pour over him. Focus changes to pilot as he turns his head. His eyes fill with horror and he screams silently.
PILOT
No-ooooo!!
The parachute container drops to the floor, and the skydiver leaps, leaving it behind. The focus pulls back instantly to a LONG SHOT of the aircraft, with the tiny figure of the skydiver plummeting to his death.
INTERIOR NEWSROOM - CLOSE-UP - DAY
The skydiver's head, beaded in sweat, jerks as if awakening from a nightmare. He wipes his brow. We hear the WHITE SOUND of computer keys being pounded as the focus pulls back to a LONG SHOT, to reveal many journalists in a bleak, fluorescent-lit office. In the centre sits SIGURD OLIVIER (the skydiver). He is dressed in a suit, sitting at his desk and staring despondently into space.
OVER-THE-SHOULDER OF SIGURD's WORK SPACE - MEDIUM SHOT - DAY
Open in front of him is a package containing the hundreds of pages of a manuscript. His vacant gaze drifts slowly down to the letter in his hand. He leans forward and pins it to a pin board, where it joins a host of other, similar letters among photographs of himself skydiving. He keeps staring at the board as RICK STRUVE, the city editor, moves into frame. He brandishes a sheet of copy.
RICK
(exasperated)We've got the makings of a good story here, but all you've given me is bare bones. Where's the flesh! (Lowers voice). This is what I'd expect from a cub reporter, not from someone of your experience. Huh?
He notices Sigurd staring vacantly at the pin board, and follows his gaze.
RICK
(trying to sound sympathetic)
Another rejection, huh? Well, you know what they say? Perseverance pays. There are plenty of publishers out there-
SIGURD
No. If I can't get the message after 39 rejections, well, I must be as thick as two short planks. The truth is, Rick, they don't want my masterpiece. (Pause). And it was meant to be my ticket out of this hell-hole-
RICK
Hell-hole! You're working for one of the best newspapers in-
SIGURD
Sure. So was Paul. Before he put a bullet through his head. And Joep, before he gassed himself last year. And Wagner, who cannot even recognise his own wife and kid anymore he's cracked up so bad. I'm scared, Rick, scared I might be next. Only bad news is news and you can't keep digging around in all that shit without getting spattered.
He gets up and we TRACK with him as he walks to a window, where he stands with his back to us.
SIGURD
(muttering to himself)
There must be another way. There must be.
The NOISE of computer keys being pounded increases. Rick moves into frame and puts his hand on Sigurd's shoulder.
RICK
(gently)
Come on, I'll buy you lunch.
EXTERIOR - WINDOW - DAY
Sigurd is standing in the window. Instead of the sound of computer keys we hear MUSIC of street artistes and the bustle of a crowd. The LIGHT has changed from cold to warm. Sigurd stands motionless, staring out before him, till Rick, with an arm around his shoulders, sweeps him off to lunch. The CAMERA HOLDS on the empty window as the SOUND of the music and the bustle below gradually increases, with occasional cheers thrown in, and now the camera PULLS BACK slowly to take in the panorama of the famous Amsterdam square, Leidseplein, below. The CAMERA drops till we are looking just over the heads of the crowd, and we see their POINT OF VIEW of a unicyclist juggling fire-sticks. The SONG "Walkabout in Paradise" dominates while the juggler entertains the crowd.
VOICE
(singing)
On Leidseplein we listened well
The juggler he did say:
The juggler throws all his sticks high into the air, then CAMERA zooms in lightning fast on his face as he sings, on cue.
JUGGLER
Paradise my friend you'll find
At a place called Bingil Bay
The SONG continues, softer now.
EXT. LONG SHOT - JUGGLER
We hear WHOOSH WHOOSH WHOOSH as he catches the three fire-sticks. He cycles back and forth as the crowd cheers.
FADE OUT
EXT. RESTAURANT TERRACE ON LEIDSEPLEIN - DAY
Rick and Sigurd are sitting at a table at the end of lunch. In the background is the crowd still watching the street artistes. The table is covered with dirty plates, coffee cups, wine bottle, one glass on Rick's side, several glasses of different shape on Sigurd's side. He looks somewhat wild.
SIGURD
...I am. And not only me. We're all in chains. Society has created us in its own image. Only I want a way out. I'm looking for a window in that brick wall where I can climb through-
RICK
Alice "Through the Looking Glass"... the "Never Ending Story"... You're not the first person to fantasize about a Shangri-la-
SIGURD
But that's just it, don't you see? I don't want to fantasize about it. I want to actually do it! Only- (close to tears) I can't find that window in the wall.
RICK
Look, you've been under a lot of strain at home. Is Viv still pressing for a divorce?
Sigurd rocks more than nods. He is lost in his thoughts. Rick calls for the bill, pays, and they leave the table, moving in the direction of the crowd. The CAMERA rises slightly so we can see over their heads. A CLOWN is doing his routine. He is dressed in white bunny suit with large red dots, oversized shoes, painted face and red nose that HOOTS when it is pressed.
EXT. LEIDSEPLEIN - DAY
The clown, his back to us, is performing, while facing him a ROW OF FOUR GIRLS, aged around 10, with school satchels on their backs, their arms linked, are mischievously mimicking his every move. At first he tries to proceed with his routine, then realises he can play in on this. His movements become more and more convoluted, with him pausing regularly to allow the girls - if they dare - to double his act. And game they certainly are! Rick and Sigurd are seen joining the crowd at the back. Sigurd's face lights up. He starts to push through the crowd, stops to look back over his shoulder, beckons Rick. Rick rolls his eyes to heaven, then motions impatiently for Sigurd to come along now. But Sigurd is moving with the overexcitement of one who has found that window in the wall. Highly irritated, Rick walks briskly off to the newsroom. Sigurd presses on till he is in the front row of the crowd, right behind the four girls. He watches them, then with hesitant movements half mimics them. Very quickly he gets into the full swing of things, links arms with spectators on either side of him, they link with others, till the entire front row is mimicking the clown in unison. He kicks up his left leg, they kick up their left legs. He throws back his head, they throw back their heads. It ends with him falling over backwards, and the crowd doing likewise, landing in a heap of abandoned laughter.
EXT. WINDOW - DAY
Rick is framed in the window. Next to him is a much older man, the EDITOR. They stare soberly down on the square.
EXT. LEIDSEPLEIN - LONG SHOT - DAY
The crowd disperses as the clown packs up the tools of his trade, and a group of PERUVIAN MUSICIANS in colourful hand-woven capes move in to take up their positions.
EXT. LEIDSEPLEIN - DAY
CAMERA, at ground level, TRACKS behind Sigurd as he walks through the thinning crowd, towards a bench. Just as he has settled himself on the right of the bench, another figure falls into frame on the left. It is the juggler. Sigurd appears excited, but nervous: it is scary to find oneself on the other side of that brick wall. The juggler lights a joint, inhales deeply and with immense satisfaction, then without looking sideways he offers the joint to Sigurd. Should he, shouldn't he? He takes it and puffs.
JUGGLER
Transmission of the light.
SIGURD
This? (Holding up the joint.)
JUGGLER
No. (He gestures towards the centre of the square.) What happened out there.
SIGURD
You were great. Thank you-
JUGGLER
(turning dramatically towards Sigurd)
It is I who must thank you! "The raincloud was full, and was grateful to the earth for receiving its water."
The juggler takes the joint from Sigurd. It passes back and forth, and they smoke in silence, yet in that silence much is being communicated: we can feel the current flowing from the juggler to Sigurd.
CROSS DISSOLVE
EXT. LEIDSEPLEIN - DAY
The same CAMERA angle as before. It is late afternoon, the LIGHT is warmer, the shadows longer. The juggler is continuing his story.
JUGGLER
....Come winter, and I fly off to the Canaries or go Down Under, Australia.
SIGURD
And you make good money there?
JUGGLER
In Sydney, Melbourne, yes. They're more receptive than you might think, though it's musicians who are best received. Music, you see, is where the Aussies expose their souls. But there's another reason I go to Australia for the winter - our winter. And the reason is, Bingil Bay. The rainforest comes right down to the highwater mark. The Pacific is terrific, warm as soup, and just off the coast lies the Great Barrier Reef. Man, when you go diving there you don't need this (he holds up a joint) to have a psychedelic trip. As someone once said: "It's as if you had died and found yourself in heaven, it's that beautiful." That's where I go to unwind.
SIGURD
(in wonder)
You certainly have a wonderful life.
The juggler considers whether or not to deflower the naive white-collar worker, but decides to be kind.
JUGGLER
Swings and roundabouts. Swings and roundabouts. The main thing is to follow your heart. Yup, that's the main thing.
FADE OUT
FADE IN
EXT. LEIDSEPLEIN - LONG SHOT - DUSK
Bird's-eye-view of the square. We hear the SONG "Some Men Climb the Mountain". The CAMERA HOLDS this angle for the next few takes. We can clearly see the bench on which the juggler and Sigurd are sitting, exchanging the odd word, while the square bustles with trams and people going home in the evening rush. We hear the CLANGING of trams.
CROSS DISSOLVE
EXT. LEIDSEPLEIN - LONG SHOT - EARLY EVENING
The lights have come on. The square is almost deserted. The juggler gets up, swings a large hold-all bag over one shoulder, takes his unicycle in the other hand, Sigurd gives a little wave, and the juggler moves across the square, out of frame.
CROSS DISSOLVE
EXT. LEIDSEPLEIN - LONG SHOT - NIGHT
The square has filled up again with the night crowd, who are looking for excitement. Several groups are busking in different parts of the square. Sigurd still sits on the same bench.
CROSS DISSOLVE
EXT. LEIDSEPLEIN - NIGHT
The crowd has thinned. Now there is only one group busking, SPANISH MUSICIANS with a WOMAN FLAMENCO DANCER. As we HEAR them play the INTRODUCTION to their next number, we see Sigurd rise and saunter off left, out of frame.
EXT. LEIDSEPLEIN - NIGHT
CAMERA is at ground level, and we see the male Spanish guitarists. They PLAY and SING "Till the Singer is the Song". When they come to the second part: "And the same for the dance, here again there is the chance, for the dancer to advance and be the dance", the woman whirls across in the foreground, skirts flairing and castanets clattering. As they go into a second round the MUSIC SPILLS OVER into the next scene, then gradually fades.
EXT. A FAIR IN FRONT OF THE PALACE ON THE DAM SQUARE - LONG SHOT - NIGHT
The bright lights, spinning rides, and SQUEALS of delight form a sharp contrast to a brooding Sigurd walking past in the foreground.
EXT. RED LIGHT DISTRICT - LONG SHOT - NIGHT
Hands deep in pockets, Sigurd is now almost in a trance as he passes prostitutes' windows, bathed in eery blue light, oblivious of their beckoning.
EXT. DOCKS - MEDIUM SHOT - NIGHT
Sigurd is standing, back to camera, the toes of his shoes just over the edge of the quayside. He sways precariously. CAMERA closes in and rises to above Sigurd's head, so we see his POINT OF VIEW of the water. Lights reflected in the water twinkle. As the MUSIC becomes ominous, liquid and whoosy, the water below starts whirling, faster and faster, the music building to a screeching crescendo. A vortex opens and we are sucked into it.
FADE OUT
INT. PSYCHIATRIC WARD - CLOSE-UP - DAY
We see a PATIENT'S head, three-quarters from behind, as he listens intently to the ATMOSPHERIC CRACKLE of a radio resting on his shoulder and pressed close to his ear. OVER HIS SHOULDER we see a row of beds, some with patients, and at the end of the row lies Sigurd, in white hospital clothes, banging his calves repeatedly on the iron foot-end of his bed. We TRACK with the radio and its listener as they advance towards Sigurd, whose teeth are clenched tightly and who is sweating profusely.
RADIO LISTENER
There! There! You hear that? That's them. Ha ha haa, they're coming through loud and clear. Imagine that, all the way from the Pleiades! (He starts screaming hysterically.) Take me with you! Take me with you...
SIGURD
Get away from me, you madman! Can't you see I'm being eaten up? From the inside? They're in my veins! They're in my veins!
SIGURD'S POINT-OF-VIEW
The radio listener looks startled. Behind him a few other PATIENTS shuffle forward, looking on uncomprehendingly.
CLOSE-UP OF SIGURD
He appears startled too. Then his face screws up, and the tears start to flow, ever more, ever more....
FADE OUT
EXT. LEIDSEPLEIN - LONG SHOT - DAY
The same high angle as before. Under an overcast sky, the autumn WIND blows leaves across the almost deserted square. Sigurd is sitting alone on the same bench as before, but wrapped now in a warm overcoat and scarf. He is the loneliest person on earth.
FADE OUT
INT. RESTAURANT KITCHEN - LONG SHOT - NIGHT
The usual pandemonium of a restaurant at peak time reigns. All about are chefs and kitchen helpers. A great cloud of steam rises, HISSING, and into this mist looms Sigurd, CLOSE-UP, to extricate another load of dishes from the industrial-sized dish washer. He wears a blue-and-white scull cap, apron and galoshes, and often has to wipe the sweat from his face with his sleeve.
CROSS DISSOLVE
INT. RESTAURANT KITCHEN - LONG SHOT - DAY
The kitchen is quiet. A few kitchen hands are chopping vegetables. One of them is Sigurd. In the background one man is standing at the open back door, blowing his cigarette smoke into the alley.
EXT. ALLEYWAY - LONG SHOT - NIGHT
A door opens and two kitchen workers emerge. They say goodnight and walk off in opposite directions. The one walking towards us is Sigurd. He counts his money, puts it in his wallet and pockets this. As he draws level with us, the CAMERA follows him. He turns a corner and enters LEIDSEPLEIN. OVER HIS SHOULDER we see a small collapsible table and two stools, where a FORTUNE-TELLER, cocooned in warm cape with hood, is holding the hand of a RICH SOCIETY LADY, palm up, and doing a reading for her. Sigurd does not appear to notice them at first, but when almost past, turns his head to cast a peremptory glance in their direction, then continues resolutely on.
INT. RESTAURANT KITCHEN - MEDIUM SHOT - DAY
Sigurd is seen adding the final touches to a row of salad bowls. The MAÎTRE d'HÔTEL arrives and surveys his handiwork imperiously.
MAÎTRE d'HÔTEL
People eat with their eyes too! Can you not try and make it a trifle more aesthetically pleasing? Huh?
He sweeps two bowls from the table. The CAMERA follows him as he strides hautily through the swing doors, into the restaurant.
CLOSE-UP
Sigurd has a stunned expression.
OVER-THE-SHOULDER SHOT OF KITCHEN WORKERS
One of them throws his head back in imitation of the maître d'hotel's hautiness, and with the tip of one finger strokes the tip of his nose in little upwards movements. The others giggle, albeit a bit nervously.
EXT. ALLEYWAY - LONG SHOT - NIGHT
Three kitchen workers spill out the back door of the restaurant. One of them, Sigurd, walks towards us, the other two away. They turn and one calls.
KITCHEN WORKER
(good-naturedly)
And I wish you an aesthetically pleasing night.
They all laugh and wave, then go their separate ways.
EXT. LEIDSEPLEIN - MEDIUM SHOT - NIGHT
The fortune-teller, facing us three-quarters on, is jumping up and down and blowing on her hands in an effort to warm herself. While she is doing this, we see, OVER HER SHOULDER, Sigurd emerging from the alleyway. He takes in the scene, stops, then retraces his footsteps.
INT. RESTAURANT KITCHEN - NIGHT
Sigurd is pouring black coffee into a thermos flask. Behind him a cleaner is mopping the floor. Sigurd starts screwing the lid on the flask, thinks of something, unscrews the lid, reaches for the cooking brandy and pours generously into the flask.
EXT. LEIDSEPLEIN - NIGHT
The fortune-teller is sitting at her small table now, alone but not unhappy. She turns her head at the sound of approaching FOOTSTEPS.
OVER-THE-SHOULDER SHOT OF SIGURD ARRIVING
SIGURD
(a little awkwardly)
I brought you something to warm yourself. Ehmm. I work at a restaurant around the corner. I was on my way home - home? I saw you. I mean, blowing on your hands. Oh god, this is looking all wrong, isn't it. (Hurriedly plonking the flask down.) I'll just leave it here and be off. (He starts moving.)
EXT. LEIDSEPLEIN - CLOSE-UP OF FORTUNE-TELLER - NIGHT
She shakes back the hood of her cape and we see for the first time just how beautiful - exotically beautiful - this woman in her early thirties is. It is difficult to pin her origins. She has something of the gypsy, with Persian blood, and something of the European aristocrat. And her eyes... her eyes can see right back to the beginning of time. Large gold earrings catch the light.
HER POINT OF VIEW OF SIGURD
He has stopped dead in his tracks, his jaw drops.
OVER-THE-SHOULDER SHOT OF FORTUNE-TELLER
She smiles a big, generous smile.
FORTUNE-TELLER
And leave me to drink alone?
SIGURD
(Completely off his stroke.)
There's only one mug- cup- It's the cap. I mean, the cap is the mug. But there's only one-
FORTUNE-TELLER
And you have a fetish about not sharing mugs?
SIGURD
No, no-
FORTUNE-TELLER
Then please- (She motions to the second stool.) Be my guest, and I'll be (She raises the flask.) -your guest. (Again she flashes that devastating smile.) My name is YATRI. And yours?
SIGURD
Sigurd.
He holds out his hand. She receives it in hers, taking the time to look well at it.
YATRI
Beautiful hands. You should let me do a reading some time.
They both sit down.
SIGURD
I'm not earning much at the moment-
YATRI
And I'm not cheap. It would cost you, let's see... One flask of coffee. I take it this is coffee?
SIGURD
Laced with cooking brandy. That's all I could lay my hands on. The better stuff was locked away already.
YATRI
Wow! Then you get the de luxe version-
SIGURD
Well, look- Actually I don't believe in that sort of thing- (Hurriedly.) I mean I don't believe in it for me. Oh damn, now I'm goofing all over the place. I'm sorry.
YATRI
No offence taken. Honestly. These- oh, shall I say esoteric things - take a little getting used to.
She pours from the flask, savours the smell, drinks, then hands the mug to him.
YATRI
(Continuing.)
There's no hocus-pocus, like people think. Not with the genuine article, anyway.
SIGURD
Yours is the genuine article, I take it.
YATRI
(Thoughtfully.)I never pretend to see things, feel things, that I don't. It's a matter of opening yourself, being receptive to the other person's vibrations. And then combining intuition with common sense. (Lightly.) But I'm still learning! That's why I'm doing my apprenticeship in foreign places.
SIGURD
Where are you from?
YATRI
Where am I from? Where am I from? Oh my goodness me! Can't I just be an earthling?
SIGURD
Snap! Me too.
YATRI
Most recently, Heidelberg. If I can call any place home, now, then it's Heidelberg.
SIGURD
I've only seen pictures. Medieval castle on the hill, old university. Beautiful, is it?
YATRI
Beautiful. I'll be going back for Christmas and New Year.
SIGURD
(With a note of scepticism.)So fortune-telling is something you can learn?
YATRI
It's more a question of honing your skills, than learning new ones. The same as with music, painting, anything in fact. You're born with a feeling for it and then you practise, practise, practise.
He hands her the mug. She sips and hands it back.
EXT. SMALL STREET NEXT TO CANAL - LONG SHOT - NIGHT
Sigurd is walking Yatri home. She carries the thermos flask, he a large hold-all with her collapsible table and stools. They are talking easily, sauntering, and come to a halt close to us. In the background we see a picturesque, four-storeyed, gabled house - a typical Amsterdam "grachtenhuis".
YATRI
Here we are. This is where I live.
SIGURD
Very grand.
YATRI
Oh I only have one room. The house is divided into several apartments.
SIGURD
Well, I guess I'll be on my way-
YATRI
You're- You're welcome- (She bursts into laughter.) I was going to say, you're welcome to come up for coffee, but we've had that.
She notices that Sigurd is looking agitated. He puts down the hold-all.
YATRI
(Continuing.)
Is there something wrong?
SIGURD
Something? No, not something. Everything!
YATRI
(Shrinking back.)I'm sorry, I've said something-
SIGURD
(Hurriedly.)No no! I'm- I'm- I'm just going through a very bad patch and I'm not ready for- Ready for- (He sighs deeply.) It would not be fair to inflict myself on you now. Another time. Another time. Thank you. Thank you.
Old ghosts have been awakened and he teeters on the edge of schizophrenia. He walks away, muttering. Yatri is left nonplussed.
CLOSE-UP OF YATRI
Suddenly remembering the thermos flask in her hands, she takes one step forward, holding it out to him, but she does not call after him. Deep in thought, she bends to pick up her hold-all and turns to enter the house.
FADE OUT
EXT. ALLEYWAY BEHIND RESTAURANT - LONG SHOT - NIGHT
Sigurd spills through the door, as usual after a day's work, and starts walking towards us, as usual. He stops, hesitant, turns around, and walks away into the distance.
EXT. LEIDSEPLEIN - NIGHT
Yatri is reading someone's palm. The thermos flask is clearly seen standing on one side of her small table.
CROSS DISSOLVE
Other people are having their fortunes told.
CROSS DISSOLVE
Still other people are having their fortunes told.
FADE OUT
EXT. SAME SMALL STREET NEXT TO CANAL - LONG SHOT - DAY
A fairyland scene: all is covered in a thick layer of snow. From far away a bent-over figure approaches, hands deep in coat pockets. It is Sigurd. He peers up at the houses as he comes nearer. Close-up now, he wavers long before turning to walk up to the front door of Yatri's house. He reaches for the bell, withdraws his hand, then reaches forward again to punch it.
OVER-THE-SHOULDER SHOT OF FRONT DOOR
Vapour rises as Sigurd exhales into the cold air. The door opens and a FLIGHTY YOUNG WOMAN appears.
YOUNG WOMAN
Hello. Can I help you?
SIGURD
(Hesitant.)Does a- Yatri. I've come to see Yatri.
YOUNG WOMAN
Come for a reading?
He hesitates, then nods.
YOUNG WOMAN
(Continuing.)
She's up in the clouds! Seventh Heaven, I shouldn't wonder! (Giggles.) That is to say, top floor. Attic, actually.
SIGURD
Thank you.
INT. SMALL LANDING AT TOP OF STAIRS - DAY
Sigurd emerges from the stairwell and we hear MIDDLE EASTERN MUSIC. He takes a deep breath, then knocks strongly on the door.
OVER-THE-SHOULDER SHOT OF DOOR
The door opens, the BLAST OF MUSIC hits us, and there is Yatri in Sufi clothes - wide crimson pantaloons, over which is a flowing gold dress - and gold earrings. She is panting.
YATRI
(Her mind clearly still on other things.)
Come in! I can't stop! I'm in the middle of Nataraz. Join me. Shoes off first.
He kicks them off. She takes him by the hand and pulls him into her world.
INT. ATTIC APARTMENT
It truly is another world. The room is long, with high, peaked roof, very old wooden beams, wooden floorboards. We see no windows, because all curtains are drawn. Eastern silks, flowing and billowing, are everywhere. The only light comes from a hundred candles, or thereabouts. In a corner, on the floor, is a large foam rubber mattress covered with more oriental cloth and a cascade of pillows. The music is whirling. Yatri dances around Sigurd, making the removal of his coat and scarf an integral part of her dance. She does not have to tell him what to do; her abandoned, free dance simply infects him. He starts slowly, awkwardly, but in the atmosphere that has been created, by Yatri, the space, and the hypnotic music, he cannot be left untouched. Yet it is Yatri who holds us spellbound, her long, nimble arms weaving patterns in the air, her skirts flairing, at times she rises like a spinning, hopping top to reappear in another part of the room. The music reaches a crescendo, then dies. Yatri drops to the floor and lies stretched out on her back. Sigurd does the same.
FADE OUT
ANOTHER ANGLE
They lie, eyes closed, in complete silence, then the tailpiece of the meditation MUSIC starts playing gently. Their eyes open, Sigurd blinks.
SIGURD
(In wonder.)
Am I on the other side of the brick wall?
YATRI
No hocus-pocus, you see? But magic nevertheless. Real magic.
She glides across to a small, low table where a glass teapot with herb tea is standing over a tea candle. She pours into two bone china bowls, hands one to Sigurd. They sit cross-legged on the wooden boards, sipping silently.
YATRI
Another?
He holds out his hand, palm up, the bowl cupped in it. Yatri takes it from him, does a double-take, puts the bowl down on the floor and takes his hand in hers.
YATRI
How extraordinary! Can I see your other hand? (He holds it out.) Two of them! You are indeed blessed.
SIGURD
(Mystified.)Blessed? (Joking.) Well, I guess I am. There are people who don't have two healthy, strong, well-functioning hands-
YATRI
No. I mean two healthy, strong, well-functioning Simian hands.
SIGURD
Simian? That means it's got something to do with apes, then?
YATRI
Yes indeed. Apes have this same characteristic.
SIGURD
Great! (Pause.) What characteristic?
YATRI
Most people have two horizontal lines in the middle of their palms. The head and the heart lines. Here, give me your hand again.
CLOSE-UP OF HANDS
Yatri's finger traces across his palm.
YATRI
(Voice over.)
Do you see? Only one line. Now look at mine.
She shows him her palm, and traces the two lines with the finger of the other hand, then turns this one palm up too. Sigurd brings his other hand into frame as well, and we see the single line clearly.
TWO-SHOT
SIGURD
(In awe.)
What does it... signify?
YATRI
Well, in common parlance, it means you're either a genius or an idiot.
SIGURD
(Genuinely unsure.)And how- how do you know which?
YATRI
(Giving him a reproachful look.)Now now, we're not fishing, are we? Anyway, that's in common parlance - don't-we-just-love-duality-Aristotle-damn-your-eyes. Things are never as black-and-white as that.
SIGURD
The one day I feel I can move the earth, the next I can hardly move my little finger. Maybe I'm both.
YATRI
Oh, by the way, Simian hands are fairly common among people with Down's Syndrome. (Pause. She looks at him enquiringly.) I haven't offended you, have I?
SIGURD
(Taking his time.)No. No you haven't. (Pause.) I often think they're the ones who've got it right.
YATRI
Lest ye be as little children, ye shall not enter the Kingdom of Heaven?
SIGURD
Exactly so.
She picks up his hands in hers, holds them in her lap.
YATRI
(Looking deep into his eyes.)
These are the most wonderfully creative hands I've ever had the privilege of- of reading. You must do something truly wonderful with them.
They hold one another's gaze for an intense moment or two, then his eyes move slowly down her face, her neck....
SIGURD'S POINT-OF-VIEW
We see her face, her neck, the delicate collar bones.... Then we see Sigurd's hands enter frame from below. Those most wonderfully creative hands are about to do something truly wonderful. They cup her breasts.
FADE OUT
EXT. AMSTERDAM CENTRAL STATION - MID-WINTER - LONG SHOT - DAY
Sigurd and Yatri hurry along the platform, find the right compartment, bundle the luggage on board, and embrace like lovers on the platform.
SIGURD
(In emotional pain.)
One week. Only one week! And now you're going, gone. Back to the husband you're not in love with.
YATRI
No, not in love, but I told you, I do love him. He needs me, somewhere in his life, and- and I need him, as a friend.
SIGURD
(Helpless now.)You - empower me! What now?
YATRI
My dearest! I kick-started your motor, that is all. But you have immense power of your own. However low you once were, that's how high you will soar now. When our paths cross again I know, with absolute certainty, you will have found your direction. Your voice.
We hear the ANNOUNCEMENT that the international train is about to depart. Yatri strokes Sigurd's cheek with the utmost tenderness.
YATRI
You will see. (Lightly.) I am not a fortune-teller for nothing. And here- (She pulls a gift-wrapped parcel from her bag.) -something to cast light on your path.
He takes the parcel.
SIGURD
Oh, oh... And I have nothing for you.
She kisses him one last time.
YATRI
Oh yes! I'll show you.
She boards the train.
ANOTHER ANGLE
Yatri presses against the window from the inside of the compartment. We hear the conductor's WHISTLE and the train starts moving. Yatri holds the thermos flask up for Sigurd to see. She smiles.
OVER-THE-SHOULDER SHOT
Sigurd waves, the train gathers speed, and is gone. He stands there like a statue while the platform empties, then, coming out of his trance, he remembers the parcel in his hands. He opens it, to reveal material. As he unfolds this, a CD box falls to the ground. He leaves this for the moment, mesmerised as he is by what falls into view: a pair of royal red pantaloon trousers and an Eastern-style embroidered waistcoat, inlaid with shiny little metal discs. When he has taken this in, he bends to retrieve the CD box. He opens it.
CLOSE-UP
We see the title of the CD. It reads: "Nataraz Meditation."
FADE OUT
INT. RESTAURANT KITCHEN - LONG SHOT - DAY
Sigurd is adding the final touches to a row of salad bowls. The maître d'hotel enters frame, looks at the bowls, and rolls his eyes to heaven.
INT. RESTAURANT KITCHEN - CLOSE-UP - NIGHT
All alone Sigurd sits at a kitchen table. From time to time he consults a cookery book which is open next to him. In his hands he has a sharp little knife and a large radish, which he cuts into with surgical precision, flicking away the unwanted pieces.
ANOTHER ANGLE
Extreme close-up of a radish being transformed into a rose.
CROSS DISSOLVE
Extreme CLOSE-UP of turnip being carved.
CROSS DISSOLVE
Extreme CLOSE-UP of red pepper being carved.
FADE OUT
INT. RESTAURANT KITCHEN - MEDIUM SHOT - DAY
Sigurd adds the final touches to a row of salad bowls. In the background the other kitchen hands are at their work. The maitre d'hotel enters frame. He glares at Sigurd, then bends to scoop up two of the bowls. He freezes.
POINT OF VIEW OF MAÎTRE d'HÔTEL
The camera PANS slowly along the row of salad bowls. They are so decorative, they look more like carousels at a fair. We see exquisite tableaux: a turnip canoe with an asparagus boatman, holding an uncooked spaghetti paddle, in a lake of avocado dip; a Catherine wheel of vegetable "flowers", and so on and so on.
ANOTHER ANGLE - MEDIUM SHOT
The salad bowls in foreground, with kitchen hands entering frame one by one to see for themselves what it is that has turned the maitre d'hotel to stone.
ANOTHER ANGLE
With reverence the maitre d'hotel levitates two bowls above his hands.
MAÎTRE d'HÔTEL
If anyone dares to eat this- (His gaze dramatically indicates the swing doors.) - with anything other than their eyes, I'll roast them!
FADE OUT
INT. BOARDING HOUSE ROOM - LONG SHOT - NIGHT
A sparsely furnished room at the end of which there is a table with a hanging lamp dangling over it. Sigurd sits there whittling at a piece of wood. To ease the cramp in his shoulders, he stretches his arms upwards and accidentally bumps against the shade. The lamp swings back and forth, casting its light in a moving arc. We hear the TICKING OF A CLOCK, abnormally loud in the late night silence, in time to the swing of the lamp.
CLOSE-UP
A carving knife shapes a piece of wood that is beginning to resemble a small boot. As the clock TICKS, the LIGHT swings. One moment the wood is bathed in light, the next it is in deep shadow.
MONTAGE OF CARVINGS
Now we see a boot, then a little hand, then a small foot....
FADE OUT
INT. DESERTED RESTAURANT - TWO-SHOT - DAY
Sigurd sits at a table in the restaurant where he works, with a sketch in front of him, explaining something to JOHANNA, a middle-aged waitress.SIGURD
I'd do it myself if I could, but I can barely manage to sew on a button. And I'll pay you of course.
JOHANNA's POINT OF VIEW
We see a CLOSE-UP of the crude sketch of a puppet with top hat and cape with measurements included.
JOHANNA
I can start by looking for a pattern, and buying the material, but I'll really need a completed doll-
SIGURD
Puppet. Marionette actually. Hanging from strings, and all that.
JOHANNA
Well I'll need a completed marionette for the fittings.
SIGURD
Okay. I'll get it done. And a thousand thanks.
Waitress smiles and nods and folds up sketch.
FADE OUT
INT. BOARDING HOUSE ROOM - MEDIUM SHOT - NIGHT
The MARIONETTE lies on the table, dressed in his new clothes: red trousers, white shirt, lilac scarf, red cape, top hat, and red shoelaces in his boots. Sigurd is adding the strings.
INT. RESTAURANT KITCHEN - LONG SHOT - DAY
The kitchen hands and waitresses, including Johanna, are sitting or standing at one end of the kitchen and watching, entranced, while Sigurd manipulates the controls and the little marionette dances. Sigurd gets him to take a bow, then stops.
FIRST KITCHEN HAND
More! More!
We see the marionette's mouth move, and we hear Sigurd talking at a higher pitch through persed lips, trying to be the ventriloquist.
SIGURD
Thank you, ladeees an' gennelmen. And if you, young lady, would care to meet me in my dressing room after the show-
Now we are treated to the piece de résistance.
CLOSE-UP OF MARIONETTE
Lights in his eyes flash at the pull of a string, giving the impression that he is winking.
MEDIUM SHOT
ANGELIQUE, a young waitress, SHRIEKS with delight, then crosses her legs to prevent wetting herself.
ANGELIQUE
He's beautiful. I want to just hug him.
ANOTHER ANGLE
SIGURD
(Modestly.)
Ah, clothes maketh the man. (He gestures towards Johanna.)
SECOND KITCHEN HAND
He looks like you.
SIGURD
I had to keep looking in the mirror to see how a face is constructed. How it all fits together. This is the first time I've carved anything.
JOHANNA
Apart from radishes and turnips!
They all laugh.
JOHANNA
(Continuing.)
I've got it! If you look alike, why don't you dress alike? Mr. WOODCARVER, you need a cape, just like your alter ego.
WOODCARVER
Would you- Would you mind-
JOHANNA
The picture simply would not be complete without you in a cape too.
FIRST KITCHEN HAND
And a top hat!
WOODCARVER
They're expensive, aren't they?
FIRST KITCHEN HAND
They have them second-hand at the flea market. On Waterlooplein.
ANGELIQUE
What are you going to call him?
Silence. A pregnant silence.
CLOSE-UP OF SIGURD
His eyes unfocussed, he looks into the distant past.
WOODCARVER
My mother told me I was named after King Sigurd, a courageous, compassionate and much-loved monarch who reigned over his people in Scandinavia around the year 500 A.D. Whether it's truth or myth, I do not know. Maybe a bit of both. The Germans have a similar story called the Nibelungenlied, in which Sigurd becomes Ziegfried. Thence Wagner's Ring Cycle operas. "Your name means sunshine after rain, calm after the storm," she said. This marionette represents my higher self, the royalty in me, so he shall be king. Henceforth he will be known as KING SIGURD.
TRUMPET FANFARE sounds. Returning to this world, Sigurd looks about him, a little embarrassed. His audience is silent.
WOODCARVER
(Continuing, a little shaky, but bravely.)
Where he dares to go, I will follow.
LONG SHOT
At that moment the swing doors from the restaurant fly open and the maitre d'hotel was in their midst. He only misses one beat as he takes in the spectacle of the marionette.
MAÎTRE d'HÔTEL
We won't put him IN the salad, hmmm? On the sideboard will do nicely.
Everyone gapes at him. Angelique gets the giggles.
FADE OUT
EXT. GNARLED OLD PLANE TREE NEAR LEIDSEPLEIN - MEDIUM SHOT - DAY
Trembling with fear, the Woodcarver presses his palms against the tree like a pilgrim touching a shrine. His head is bowed. Beside him on the ground is an old rucksack. The woodcarver is dressed in red trousers, white shirt, lilac scarf, and his boots have red shoelaces.
WOODCARVER
Give me strength! Oh god, give me strength.
Slowly he raises his head to the heavens - and suddenly he is transfixed.
HIS POINT OF VIEW
We see the sculpture of a little man with a saw standing on the branch above the Woodcarver's head.
EXT. GNARLED OLD PLANE TREE NEAR LEIDSEPLEIN - LONG SHOT - DAY
While the Woodcarver stares up at the little man, a dishevelled HERMIT saunters up to him.
CLOSE-UP OF HERMIT
HERMIT
Notice something? He's on the wrong end of that branch, hee hee hee. He's heading for a fall!
CLOSE-UP OF WOODCARVER
His eyelids flutter, we hear an INTAKE OF BREATH. Does the hermit's observation foretell doom and disaster?
EXT. LEIDSEPLEIN - LONG SHOT - DAY
The Woodcarver walks to centre stage where some ACROBATS are performing, pauses, then moves off to a quieter spot at the edge of the square. He swings the rucksack off his back, unpacks a small cassette deck, dons a large red cape and a threadbare top hat, places an old beret on the ground before him, then gently lifts King Sigurd. He presses a button on the cassette deck. We hear FAINT MUSIC, the song "I Love You". He turns this up, then some more, but it is almost drowned out by the sounds on the square. Sweating with fear, he starts working the controls, concentrating intensely on what he's doing and making little contact with his audience - potential audience, that is to say, for with this degree of introversion he is hardly likely to draw the crowds. It is a tortuous debut! He has no stage presence and the crowds, scarcely able to distinguish him as a performer, bump into him and he has to whip King Sigurd out of harm's way from time to time. After a while, an OLDER MAN stops before him and watches with some interest. The Woodcarver notices him and is so grateful to have an audience - any audience! - and does his best to play for the man. When the tape comes to its end and stops, the man speaks.
OLDER MAN
My dear fellow, you must get out of Amsterdam. I used to do this, play on the street, and I can tell you from experience you will do better elsewhere.
WOODCARVER
Where then?
OLDER MAN
Anywhere, but not Amsterdam.
WOODCARVER
I don't get it. Everyone comes to Amsterdam, surely-
OLDER MAN
That's exactly it! Nothing is new any more. They've seen it all. If you rode through here naked on an elephant with your hair on fire, nobody would even look up. Go play the small towns. Amsterdam is for the bold, the brassy, the brave. Besides, I'd guage you haven't logged too many flying hours. I know I'm being cruel, but you'll thank me for it. Later.
He takes out his wallet, peels a note from it, and places it in the beret.
OLDER MAN
(Continuing.)
To get you started.
He turns to go, then turns back.
OLDER MAN
(Continuing.)
Nice puppet, by the way. Best of luck.
He departs.
FADE OUT
INT. BOARDING HOUSE ROOM - MEDIUM SHOT - NIGHT
The Woodcarver sits at his table, stirring a cup of coffee endlessly, and looks depressed. King Sigurd stands on the table, suspended from a cord attached to the ceiling. The Woodcarver talks to himself.
WOODCARVER
We didn't exactly take the world by storm, did we? (Looks up at King Sigurd.) Did we?
He looks again into the coffee cup, as if the answer to his problems might lie there. It doesn't. He leans over and works the marionette's mouth string.
CLOSE-UP OF KING SIGURD
WOODCARVER (VOICE OVER)
(In King Sigurd's voice.)
No sirree, you simply weren't meant to be king of the road, like that juggler, and all those others performing out there.
MEDIUM SHOT
The Woodcarver settles back in his chair, again staring into his coffee cup. Just then DREAM-LIKE, WATERY MUSIC is heard, signalling a change in dimension, and the most extraordinary thing happens: we hear King Sigurd's voice, while it is perfectly clear the Woodcarver is not doing any ventriloquism. Not only are his lips not moving - not even the slightest bit - but he turns to look in the direction of the marionette, himself as incredulous as we are.
KING SIGURD (VOICE OVER)
Now I won't have it, do you hear? I will not have you putting words into my mouth.
CLOSE-UP OF KING SIGURD
His mouth moves by itself.
KING SIGURD
(Continuing.)
If you thought you could be an overnight sensation, you are suffering from delusions of grandeur. Practise, my lad, practise.
CLOSE-UP OF WOODCARVER
Still viewing this miracle with some consternation, he slowly settles down to the idea that this might be - well, normal, of a kind. NOTE: WHENEVER PUPPETS ARE IN CONVERSATION WITH THE WOODCARVER, OR WITH ONE ANOTHER, THEIR MOUTHS AND BODIES MOVE BY THEMSELVES, AND OCCASIONALLY WE SEE EXPRESSIONS ON THEIR FACES (the work of animators) BUT THE PUPPETS IN THIS STORY REMAIN CARVED WOODEN PUPPETS AND NEVER TURN INTO FULL ANIMATIONS, OR CARTOON CHARACTERS. THE USE OF LIMITED ANIMATION WILL ALLOW US TO WONDER IF THIS "COMING TO LIFE" OF THE PUPPETS IS NOT PERHAPS A PROJECTION OF THE WOODCARVER'S OWN INNER VOICES, RATHER THAN THEIR BECOMING FULLY INDEPENDENT LITTLE BEINGS. IN PUBLIC, THOUGH, THE WOODCARVER STILL HAS TO MANIPULATE THE CONTROLS.
WOODCARVER
Yes, yes. We shall go "On on on on on, once more unto the breach-"
KING SIGURD
We shall go more than once. We shall go as often as is needed, and THEN once more. Now here's my plan: cut down on your hours at the restaurant, then two or three times a week you and I board a train for some outpost-
WOODCARVER
(Entering into the spirit of things.)
You're right! That's what- (Thoughtful.) -Yatri said. She said it was easier to learn new things in foreign places.
KING SIGURD
No one you know to laugh at you when you make an arse of yourself, hey? So, all agreed? Say "Aye".
WOODCARVER and KING SIGURD
Aye!
KING SIGURD
The ayes have it. Oh, and by the way, don't expect me to talk to you in public. It is for your own safety.
WOODCARVER
How so?
KING SIGURD
There are people out there who do not believe in even one impossible thing before breakfast, let alone six. And they are ready to crucify those who do.
FADE OUT
MONTAGE OF SHOTS OF WOODCARVER AND KING SIGURD PLAYING ON THE STREET IN VARIOUS SMALL TOWNS IN THE NETHERLANDS, INTERCUT WITH SHOTS OF TRAIN TRAVEL, INTERCUT WITH SHOTS OF WOODCARVER WORKING IN RESTAURANT KITCHEN, INTERCUT WITH SHOTS OF HIM CARVING IN HIS ROOM. TOWARDS THE END OF THE MONTAGE, WE SEE THEM PLAYING ON THE STREET WITH THE NEWLY CARVED MINIATURE STREET ORGAN, WHICH NOW CAMOUFLAGES THE CASSETTE DECK.
INT. BOARDING HOUSE ROOM - LONG SHOT - DAY
The Woodcarver stands at the window, hands deep in his trouser pockets, staring gloomily at the HEAVY RAINFALL.
WOODCARVER
The gods have got it in for us. Oh yes, they certainly have. Prey to the vicissitudes of the weather. And to think I chose to earn a living on the street. Well, we're not going to be earning much in conditions like these.
KING
This too shall pass. Besides, this is good book, bed and wench weather.
The Woodcarver turns around and glares at the king.
WOODCARVER
I don't have a wench.
CLOSE-UP OF KING
KING
Oh aren't we just the victim today! Well, don't just stand there wallowing. Use that energy.
WOODCARVER
What energy?
KING
There's more horsepower in sadness than in gladness - IF you know how to harness it.
WOODCARVER
Would you mind explaining yourself?
KING
Carve your gloom and misery. Let's see the victim!
The Woodcarver and King Sigurd SING "Base Metal into Gold", while the Woodcarver settles down to carve.
EXT. MEDIEVAL DUTCH TOWN - MEDIUM SHOT - DAY
In the foreground the new puppet, VICTIMUS ULTIMUS, sits in the stocks. We see his wooden leg, bandaged hand, and hang-dog expression. We also catch sight of the Woodcarver and King Sigurd going through their paces to the accompaniment of music emanating from the little organ. We hear Victimus's SONG: "Don't Take His Problems from Him". The Woodcarver hangs King Sigurd on a collapsible stand, then bends over and manipulates Victimus Ultimus. He speaks for the new puppet, and we notice he is improving as a ventriloquist.
WOODCARVER
(Winging.)
Oh woe is me! Nobody loves Victimus Ultimus. The end is nigh. Doom and desolation...
The old beret has been replaced by an ornate copper and brass "centabakje" for receiving contributions from the public. Victimus's wails cause amusement - we hear APPRECIATIVE LAUGHTER - and a flow of coins.
VICTIMUS ULTIMUS
That's not enough! What's that going to buy? Barley broth, nothing more. Oh woe is me....
This has the desired effect: coins come raining in.
INT. ROMA'S SECOND-HAND CAR GARAGE - MEDIUM SHOT - DAY
The Woodcarver is talking to the car dealer.
WOODCARVER
I'm looking for- something with the horsepower of sadness.
CAR DEALER
Sorry?
WOODCARVER
Just a little joke. What I'm looking for is a van of sorts, something I can sleep in if necessary.
CAR DEALER
How much you wanta pay?
ANOTHER ANGLE
The Woodcarver pours a huge quantity of coins from a large cloth bag onto the car dealer's greasy desk. This is a language he speaks. Together they sort the coins into different denominations.
EXT. COUNTRY LANE OUTSIDE CAR DEALER'S PREMISES - LONG SHOT - DAY
A red, rusty, Russian station wagon - the Czarina - belches smoke as it turns into the lane, the Woodcarver at the wheel, and moves out of frame.
INT. BOARDING HOUSE ROOM - DAY
Victimus Ultimus is seen on the table next to King Sigurd. The Woodcarver sits with his back to us, carving away.
VICTIMUS ULTIMUS
And I thought we were going to travel, to see the world, but oh no, Mr. Woodcarver here first has to finish the likeness of his lost love. Woe is me!
He is completely ignored. The camera CLOSES IN on the Woodcarver's work space, and now we see a snapshot propped up on the desk. We come close to the photograph and see a playful Yatri posturing with- the thermos flask.
EXT. FREEWAY - LONG SHOT - DAY
Bird's-eye-view from behind. We see car after car, even trucks, overtaking the red station wagon.
INT. STATION WAGON - MEDIUM SHOT - DAY
Victimus Ultimus is rocking in the stocks behind the Woodcarver. Opposite him stands King Sigurd, controls suspended from a hook above, swaying with the motion of the vehicle. Between them swings - flies? - a magic carpet, on which sits YIN-YIN THE WISE WITCH. She does resemble Yatri, and wears a dress similar to the flowing gold dress that Yatri once danced in. She sings her SONG "Butterfly Kisses". As the song fades, Victimus turns to her.
VICTIMUS ULTIMUS
Why is everyone going faster than us, Yin-Yin?
WOODCARVER
Speed freaks.
VICTIMUS ULTIMUS
I don't believe this heap of scrap metal can go any faster-
The reasonably smooth sound of the ENGINE is interrupted by a hiccup.
YIN-YIN
Don't say that! Do you think the Czarina is insensitive to that sort of remark?
KING SIGURD
Achtung! Achtung! (He points ahead.) Rechts, rechts! Und dann gerade aus.
CLOSE-UP OF SIGN
We read that this is the exit for Hameln.
EXT. FREEWAY - LONG SHOT - DAY
The Czarina takes the turn-off.
INT. STATION WAGON - ANGLE FAVOURING WOODCARVER - DAY
WOODCARVER
Hameln? Hamelin? Hameln. Piep Piper?
CLOSE-UP OF KING SIGURD
KING SIGURD
One and the same. Now we shall see for ourselves if the city fathers have learnt the lesson taught them by the Pied Piper.
VICTIMUS ULTIMUS
What lesson?
WOODCARVER
You're expecting rather a lot if you think they'll be kept in line by a lesson taught eight centuries ago.
KING SIGURD
It was one helluva lesson!
VICTIMUS ULTIMUS
Will someone please tell me what lesson?
WOODCARVER
There was this guy in a floral coat who played a mean flute. The town at that time was bedevilled by a plague of rats, and he claimed he could bewitch them with his flute and lead them out of town - for a fee. The city fathers agreed to pay, if he succeeded. Well, he succeeded all right. But the city fathers did what politicians do best: renege on their promises-
VICTIMUS ULTIMUS
What's that mean?
KING SIGURD
Lie like their feet stink.
VICTIMUS ULTIMUS
Oh.
WOODCARVER
So what does the pied piper do? Take it lying down? No sirree! He returns, playing his flute, only this time he bewitches not rats but all the children of the town, and leads them off to their deaths.
VICTIMUS ULTIMUS
(Pensively.)
Oooh.
EXT. PEDESTRIAN SHOPPING STREET - HAMELN - LONG SHOT - DAY
The Woodcarver, without cape and hat, walks down this street with the rucksack on his back. He stops to look at a young woman cutting a silhouette of a client. They are both sitting on stools. A small crowd is gathered about them, and people watch fascinated as the young woman's scissors flash in the sunlight. When satisfied with the likeness, snipped out of black paper, she glues the silhouette onto white cardboard, signs it with a flourish, and hands it to the client, who in turn hands her a 10 Euro note. As the next client sits down, the young artist stretches to ease the cramp in her shoulders. She notices the Woodcarver and smiles.
WOODCARVER
I know how you feel. I'm a woodcarver.
SILHOUETTE ARTIST
Are you carving... on the street?
WOODCARVER
No no. I make marionettes. We'll be performing here. When I've found the right spot.
SILHOUETTE ARTIST
I'll come have a look. Later...
EXT. ANOTHER PEDESTRIAN SHOPPING STREET - LONG SHOT - DAY
King Sigurd is reclining in his little deck chair on one side of the small organ, Victimus Ultimus sits in the stocks on the other side. Yin-Yin the Wise Witch is flying about among the spectators, stopping from time to time to shake hands with a child. We hear Yin-Yin's SONG, "Butterfly Kisses". The song comes to an end.
ANOTHER ANGLE
We see the Woodcarver - and Yin-Yin - taking a bow. The audience claps.
SHOT FAVOURING SILHOUETTE ARTIST
She claps enthusiastically at the back of the crowd, which slowly disperses as the Woodcarver takes a break. The silhouette artist moves forward and hands a sheet of cardboard to the Woodcarver.
POINT OF VIEW OF WOODCARVER
CLOSE-UP of a silhouette of the Woodcarver and King Sigurd.
TWO-SHOT
WOODCARVER
My god you're good. I'm overwhelmed. And fast! How much do I owe you?
SILHOUETTE ARTIST
Nothing. I was touched by the- I find it heart-warming, what you do. I mean, bringing light into people's lives. (Blushes.)
WOODCARVER
I do? Gosh. I've been concentrating so hard on what I'm doing - I'm pretty new to this, but I guess you can see that. Anyway, I've hardly been able to stand back and get the bigger picture. It's such a relief to hear you say that, what you said. (Pause.) Care for a coffee?
FADE OUT
EXT. PEDESTRIAN SHOPPING STREET - LONG SHOT - NIGHT
The Woodcarver skips happily along the almost deserted street. We hear the SONG "I Love You". The Woodcarver's FOOTSTEPS ring out.
INT. STATION WAGON - MEDIUM SHOT - NIGHT
The driver's door opens and the Woodcarver settles in behind the wheel and SIGHS contentedly.
YIN-YIN
Did we- Did we- Did we have a good time then?
We hear her SNIFFING and STIFLING the sound of CRYING. The Woodcarver turns around and looks down to where Yin-Yin is. His expression is that of a man who has been caught cheating: sheepish and apologetic. Now if there's crying to be done, our old friend Victimus Ultimus does not want to be left out of it.
VICTIMUS ULTIMUS
Oh woe is me- she! Woe all of us...
The Woodcarver whips round and turns the ignition. The best defence is offense!
WOODCARVER
What the hell do you expect from me? To live like a monk!
The engine is slow in starting.
WOODCARVER
Damn!
At last it fires.
FADE OUT
EXT. CAMP SITE BESIDE THE RIVER WESER - LONG SHOT - DAY
In the background stands the Czarina, her back door open so we can see the puppets inside. Beside an open fire stands a pot with coffee. The Woodcarver sits in his deckchair - a larger version of King Sigurd's deckchair - and is doing a poor job of toasting bread spiked on a willow branch. The bread bursts into flames from time to time, which the Woodcarver beats out. While he does this, a piece of wood that looks like a half-completed head, rolls out of his lap. Harassed, he beats frantically to put out the flames. We hear King Sigurd starting to speak.
CLOSE-UP OF KING SIGURD
KING
"Keep your head when all about you are losing theirs...."
LONG SHOT OF WOODCARVER
WOODCARVER
(Irritated.)
Thank you very much!
FADE OUT
EXT. WALL OF SALT WATER IN BAD SALZUFLEN - DAY
The cascading water in this spa resort fills the frame. We HEAR THE WATER. As the camera PULLS BACK, the sound of GALL's SONG, "Way of The Fool", grows. He gradually comes into frame as the camera PULLS BACK more... till we see the Woodcarver manipulating Gall's strings.
CROSS DISSOLVE
EXT. OLD CEMETERY IN ROSENDAEL - LONG SHOT - DAY
Focus on symmetrical rows of war graves in foreground, shift focus to statue of mother comforting her four children at graveside. We hear CHIRPING OF BIRDS. Shafts of sunlight between the trees complete the tranquil, inspiring setting.
ANOTHER ANGLE
The Woodcarver is sitting beside the Czarina, wood and a carving knife in his hands, and lost in thought. Behind him, in the station wagon, we see King Sigurd and Gall.
WOODCARVER
(to himself while deep in thought)
...Better to travel hopefully than to arrive. But that still doesn't mean you can do without a goal... if only to get you out there travelling...
TWO-SHOT OF THE KING AND GALL
GALL
Which brings me to my next point, sire. As court jester it is incumbent upon me to give Your Majesty the benefit of the fruits of my thoughts-
KING SIGURD
(A touch impatient.)
Your point, my dear Gall. Your point is?
GALL
I'm being circumlocutional, I know. An old fault. My point, then, Your Majesty, is this: we cannot merely idle along while the Woodcarver here criss-crosses the continent. You have a mission. You must take up where you left off in Lapland 1500 years ago. And I, I stand ready to assist in whatever way I can-
KING SIGURD
By making irreverent comments on all that moves and does not move. Indispensable, I'm sure.
GALL
Your Majesty is wise beyond words. And compassionate. May I suggest the use of a Magic Mirror this time round? If we are to drag a few souls from the quagmire of unconsciousness to a higher plane-
KING SIGURD
We?
GALL
The royal we. A Magic Mirror, sire, would be most useful in getting people to discover their inner king. Or queen. Or prince or princess for that matter. Yes indeed, a Magic Mirror.
KING SIGURD
Good point, my dear Gall. I'll have a word with the Woodcarver.
CROSS DISSOLVE
EXT. COLONNADE IN KARLOVY VARY - LONG SHOT - DAY
A small crowd is gathered round the Woodcarver and company as they perform. We hear the SONG "Mirrors for the Blind".
CLOSE-UP OF YIN-YIN
YIN-YIN
(Singing.)
There was a man, he came into town. There was a man, he came into town.
WOODCARVER
(Singing.)They asked him: "Why have you come to town?"
They asked him:
He puts a hand to his ear, listening, mouthing the word "why", and the crowd oblige by singing.
CROWD
"Why?"
WOODCARVER
"Have you come to town?"
KING
To sell mirrors to the blind.
WOODCARVER
What?
Again he puts a hand to his ear and mouths the word "What". The crowd obliges.
CROWD
What?
KING
(Singing.)To sell mirrors to the blind. And when they look in that mirror, the blind will learn to see, with a crown on your head you are bound to know, the royalty in thee....
While the singing continues, the Woodcarver holds up the Magic Mirror so a small child can see his face reflected in the mirror; with elaborate gestures the Woodcarver gets the message across that the little boy is now a prince.
CROSS DISSOLVE
EXT. CHARLES' BRIDGE IN PRAGUE - LONG SHOT - DAY
The bridge is jammed with tourists. In the distance we see the Woodcarver bending over so children can look in the Magic Mirror.
MEDIUM SHOT
The Woodcarver gets frantic as he is jostled by the crowd.
EXT. HIGH BRICK WALL IN PRAGUE - LONG SHOT - DUSK
The Woodcarver, rucksack on back and collapsible stand in one hand, walks along the street beside the high brick wall. We hear the CLANGING OF A TRAM. Obviously highly strung, he presses himself against the wall as if fearful of being hit by the tram - and falls through a doorway in the wall. He regains his balance, looks about him in wonder at the secret garden he has stumbled into, and closes the door. He talks to himself.
WOODCARVER
...Through the brick wall... (Singing softly.) I'm in heaven, heaven, heaven. (Thoughtfully.) If only it could be this still inside of me.
ANOTHER ANGLE
The Woodcarver sits leaning against a pillar, carving a piece of dark wood.
CROSS DISSOLVE
EXT. HAMLET's CASTLE IN HELSINGOR - LONG SHOT - DAY
The company are performing beside the old castle. The SONG we hear is "The Luminous Innocent".
CLOSE-UP OF WOODCARVER
WOODCARVER
(Singing.)
In Hamlet's Castle we spotted a black, we called out loud: "Who is that?" Our jester he cried...
CLOSE-UP
GALL
(Singing.)
Hello fellow. If I'm not much mistaken, that was Othello.
MEDIUM SHOT
The new marionette, MAQINA, a black youth wearing studded football boots and boxing gloves, appears from behind a rampart. NOTE: THE "Q" IS PRONOUNCED WITH THE DISTINCTIVE XHOSA CLICK SOUND.
MAQINA
(Singing.)
Oh take heed if you are a heinous hyena, 'cause then you're up against the might of Maqina. For those who are my brothers, my message is love, for those who are not there's a fist in a glove.
The song flows over into the next scene.
CROSS DISSOLVE
INT. CZARINA - MEDIUM SHOT - DAY
WOODCARVER
We'll work our way south, slowly, so that by the time winter comes we'll be in warmer latitudes. What do you say, Maqina? A little closer to Africa, hey?
MAQINA
(Finishing his song.)...My name means mission and I aim to advance, the cause of the African Renaissance.
Everyone applauds.
EXT. FREEWAY - LONG SHOT - DAY
The Czarina speeds along.
EXT. FOUNTAIN IN MARIENBAD - LONG SHOT - DUSK
The Woodcarver sits leaning against the wall of the fountain, carving. The water behind him is placid.
EXT. COVERED WALKWAY NEAR FOUNTAIN - LONG SHOT - DUSK
A HERMIT in hessian rags, lying under the beautiful old wrought-iron-and-glass walkway, gets up and shuffles towards the fountain.
SHOT OF WOODCARVER NEXT TO FOUNTAIN
The hermit moves into frame. Suddenly, to the sound of music, the WATER ORGAN explodes into life behind him. The hermit looks on impassively as the Woodcarver, splashed by the fountain, turns round to gape at the mind-blowing spectacle. His face lights up with delight as he sees the myriad jets of water, all individually controlled, dancing with oscillating force in time to the music, while a hundred coloured lights, ever-changing, paint the mood on airborne water.
HERMIT
(With surprising authority.)
Still waters run deep.
CLOSE-UP OF HERMIT
The MUSIC of the water organ fades away as the hermit starts to SING "An Aspect of the Sun". Behind him the aquatic display continues. The light on his head changes from red to blue to yellow to green...
HERMIT
(Continuing.)
I sought it here, I sought it there; I sought in heaven and in hell....
CROSS DISSOLVE
INT. CZARINA - MEDIUM SHOT - DAY
The newest marionette, CASE the wise hermit, standing amongst the other puppets in the back of the station wagon, is singing now, instead of the other hermit. He continues with "An Aspect of the Sun".
FADE OUT
EXT. PETROL STATION BESIDE FREEWAY - LONG SHOT - NIGHT
In the foreground the Czarina stands beside the pump; beyond it in the brightly lit shop we see the Woodcarver paying the cashier.
INT. SHOP - MEDIUM SHOT - NIGHT
OVER-THE-SHOULDER of the Woodcarver we see his POINT OF VIEW of a television set on a shelf. A DUMB-PLATINUM-BLONDE is reading the news.
CLOSE-UP OF WOODCARVER
WOODCARVER
(Disdainfully.)
Humpfff.
INT. CZARINA - MEDIUM SHOT - DAY
The new puppet, MISS QUOTE, ensconced in her very own wooden television set, is reading the news.
MISS QUOTE
...which the Minister of Licences and Licensing insists is the very last warning he is giving offenders before incarcerating them. And now, the weather forecast: every silver lining will have a dark cloud attached to it, so weh!-
GALL
(Giving her the "up yours" finger.)
Oh blow it out the other end, for pity's sake.
CLOSE-UP OF MISS QUOTE
She is taken aback for a moment, then starts to sing bravely, even defiantly, the SONG entitled "Miss Quote's Quote". In parts it becomes a duet with Gall. The song spills over into the next scene.
EXT. MOUNTAIN PASS IN ALPS - LONG SHOT - DAY
The Czarina struggles nobly upwards through seemingly endless S-bends. As the SONG fades, the ENGINE NOISES grow in intensity. There is something amiss. Hiccups and grinding are followed by a death rattle, culminating in the expulsion of a dark black cloud of smoke from the exhaust.
CLOSE-UP OF THE WOODCARVER
He is slumped with his forehead against the wheel.
ANOTHER ANGLE
Behind him Yin-Yin swings from the roof. There is deadly silence from the assembled company, except for the PEEP-PEEP sound of her controls rubbing against the hook.
EXT. FARM LANE - LONG SHOT - DAY
A tractor towing the Czarina pulls up next to a shed.
CLOSE-UP OF FARMER
Dressed in greasy overalls, he is bent over the engine, under the raised bonnet. The back of the Woodcarver's head and one shoulder appear in the foreground. The farmer shakes his head slowly, then draws a finger across his throat.
EXT. FARM BUILDINGS - LONG SHOT - DAY
The farmer leads the Woodcarver around a corner, and there we see the blunt nose of an ancient, red, corrugated iron van beside - and partly under - a stack of hay. We follow them round the back of the van, and through the open doors we see a roomy interior - now the home of tiers of brooding chickens.
CLOSE-UP OF WOODCARVER
He grimaces.
ANOTHER ANGLE
As the Woodcarver bravely sticks his head into this coop, the better to examine it, the farmer is drawn away by the sound of a COW MUNCHING nearby. The Woodcarver does not notice him go.
WOODCARVER
What make is she?
ANOTHER ANGLE
The farmer shoos the cow, named VIOLETTA, away from a vegetable patch, shouting.
FARMER
Violetta!
ANOTHER ANGLE
WOODCARVER
Violetta? A pretty name. (Pause.) Would you, Violetta, take King Sigurd's Magic Mirror Marionette Theatre as your lawful, bedded passengers... till death do you part?
EXT. FARM LANE - LONG SHOT - DAY
Violetta leaves the farmstead behind, where the farmer, his wife and their children wave goodbye.
INT. VIOLETTA - MEDIUM SHOT - DAY
WOODCARVER
I'm sorry, Maqina, but I didn't plan the Czarina's demise.
MAQINA
Eh, man, why cannot a we go south in this-
MISS QUOTE
Night cart? Because it pongs to high heaven!
MAQINA
What's a night cart?
GALL
A shit buggy.
MAQINA
Hey?
WOODCARVER
It's from the olden days, before there was water-borne sewage. Look, Maqina, Violetta needs a lot of work done to her. Okay, she needs to be scrubbed down and disinfected, but that's the least of it. There are mechanical things to be attended to-
MAQINA
But we don't need to go to Amsterdam to do that.
WOODCARVER
I've got contacts there, so it's cheaper. Anyway, that isn't all. I want to fit Violetta out as a camper. It's damn tiring having to hunt down the local swimming pool in every town we come to just so I can go through the "S's"-
MAQINA
S-what?
GALL
Shit, shave, shower and shampoo.
MAQINA
Oh.
WOODCARVER
And another thing. It's too tight a squeeze fitting you all into the rucksack. One of these days someone's going to get injured. So. I'm going to build us a big cart with pneumatic tyres and a pretty picture on the front so we can use it as decor and- and- wait for it... A decent sound system so we can be heard even in really noisy places. So you see, my dear Maqina, it's one step back, then three steps forward. In no time you'll be waving at Africa.
FADE OUT
EXT. JOHANNA's TERRACE HOUSE IN AMSTERDAM - LONG SHOT - DAY
Violetta is parked in the street in front of the house of Johanna, the older waitress, and her husband, DIRK. The Woodcarver and Dirk are seen through Violetta's open back doors, where the fitting out of the van is almost completed. Through the open front door of the house we see ANGELIQUE, the young, giggly waitress, painting a CASTLE on the front panel of a cart.
MEDIUM SHOT OF DIRK AND THE WOODCARVER
Dirk holds a small motorcycle battery in his hands, with cables dangling from crocodile clamps.
DIRK
We'll mount this on top of the regular battery, in series, and that way she'll charge up while you're travelling. You'll get quite a few hours playing time on your sound system.
WOODCARVER
Dirk, you're a genius.
ANOTHER ANGLE
Johanna appears carrying a tray laden with mugs.
JOHANNA
Coffee, everyone!
ANOTHER ANGLE
They are all sitting in front of the house drinking and relaxing.
JOHANNA
But you said you weren't ready yet to play Amsterdam.
WOODCARVER
I know, I know. But I have to test everything before hitting the road. The cart, the sound system. Besides, I need to earn money. After lashing out on all this- (He waves an arm.) -I'm broke. Nearly. Look, I'll find a quiet place.
DIRK
If you don't stick to one of the designated spots, you could have trouble from the police.
JOHANNA
Ach, Dirk, the Dutch police are schatjes. You know their reputation for tolerance.
EXT. SMALL SQUARE AT SPUI ENTRANCE TO BEGIJNHOF - LONG SHOT - DAY
The puppets are arranged around the Castle while the Woodcarver and King Sigurd go through their paces. The music of the SONG "The Sun Behind the Sun" is heard loud and clear. The Woodcarver fiddles with a radio microphone clipped to his shirt front. We hear SCRATCHING SOUNDS, then he begins to SING, and his voice comes across loud and clear too. A smile of satisfaction crosses his face, but as he looks into the middle distance, we see he is alarmed.
WOODCARVER's POINT OF VIEW
Two police officers, a woman and a man - his hair is shoulder length - approach on huge horses.
ANGLE ON WOODCARVER AND KING SIGURD
WOODCARVER
(Sotto voce.)
Oh my god. Wave, Your Majesty, wave like your life depends on it.
King Sigurd waves frantically.
CLOSE-UP OF POLICE
They try to maintain the stern look of authority, but the woman succumbs to the little king's charms. She blushes, and bursts into a big smile as she turns to her companion. Being a young male, it is harder for him, but he, too, is touched. He gives a shrug, and they move on.
EXT. THE SAME SMALL SQUARE - LONG SHOT - DUSK
Spectators are again gathered around the performers, who are now SINGING "The Universe is Singing a Song". In the distance a rowdy group of YOUNG MALE TOURISTS are lounging on a bench, drinking. A MOTHER pushes a wheelchair with her 10-year-old SON in it - he has cerebral palsy - to the front of the crowd.
MEDIUM SHOT OF SON
We hear GURGLING NOISES as the boy drools, his arms flying about in spastic movements.
SON's POINT OF VIEW
King Sigurd is advancing, pulling the Woodcarver along behind him.
MEDIUM SHOT OF SON
The boy is getting overexcited. His mother rubs his head to soothe him. The crowd has fallen silent. The music has stopped. Attention is focussed on the unfolding drama. Suddenly all eyes shoot upwards, following the movement of something leaping through the air. King Sigurd enters frame from above, left, and lands on the small, swivel shelf fixed to the wheelchair, bang in front of the boy. In the crowd there is a collective INTAKE OF BREATH. The boy rolls his eyes. Strange, HIGH-PITCHED sounds are now mingled with the gurgling. The mother is torn between joy and fear - fear that her spastic son might break the fragile wooden marionette. But the King is made of sterner stuff! With biblical trust he reaches out his right hand for the boy to shake. The boy focusses. All of his resources are now concentrated on coordinating mind and muscle. His little body contorts with the effort. The hand shoots forward - too far to the right. It shoots forward again - too far to the left. His face screws up more. He pauses, regrouping. Then his hand shoots forward to within a millimetre of His Majesty's outstretched, unmoving arm. The crowd GASPS involuntarily, fearing the worst. But the boy has now reached the eye of the storm: in a near-normal move his hand closes gently, oh so lovingly, around that of the King. The crowd explodes into relieved APPLAUSE. In an awkward hug, the mother presses a hand against her son's chest, and her face to his cheek. He GURGLES with pride. With her other hand the mother wipes the dripping saliva from the corner of his mouth.
FADE OUT
EXT. THE SAME SMALL SQUARE - LONG SHOT - EARLY EVENING
The Woodcarver, basking in the little miracle he has been a part of, is gracefully packing the puppets in their protective bags and lowering them into the Castle.
MEDIUM SHOT
He cradles the last puppet, King Sigurd, in both arms and murmers
WOODCARVER
Thank you. Thank you.
Suddenly, out of nowhere, a man's hand shoots into frame and stops perilously close to King Sigurd. There is the dramatic sound of KETTLE DRUMS being banged.
WOODCARVER's POINT OF VIEW
One of the rowdy tourists is putting on a spastic act, in imitation of the boy. He is drunk, and when he speaks - slurs - we hear a broad Australian accent. Behind him his friends, not quite as drunk, laugh at his antics and, in north-country accents, indulge in ribaldry.
AUSSIE DRUNK
Give ush a hand, mate. (Pause.) I shed give ush a hand, mate!
ENGLISH DRUNK
Come on, Bruce baby. That's enough now.
The first drunk turns his head to look at his mates.
AUSSIE DRUNK
Don' I getsh the shame treatment as the spastic? Hey?
MEDIUM SHOT OF WOODCARVER
As unobtrusively as possible, the Woodcarver puts the cover on the marionette and is about to lower him into the Castle, when the Aussie drunk strikes. Again his hand shoots into frame, this time lunging for the Woodcarver's belly. It stops in the folds of his white shirt, and we see the light glinting off the metal of a corkscrew. The Woodcarver looks down, his face in shock.
WOODCARVER's POINT OF VIEW
The English drunks are pulling the Aussie drunk back.
AUSSIE DRUNK
(Screaming.)
Bloody poofter! Men don't play with dolls! Not real men.
CLOSE-UP OF WOODCARVER's SHIRT
The Woodcarver's fingers gingerly lift the cloth to expose the flesh. We see a long, raw scratch, the skin just broken in places.
LONG SHOT
While several of the drunks keep the Aussie at bay, one of the party steps up to the Woodcarver.
ENGLISH DRUNK
You all right?
The Woodcarver, still in shock, does not answer at first, then slowly nods his head.
ANOTHER ANGLE
The Woodcarver stands alone beside the Castle while in the distance the rowdy drunks quickly move down the street.
FADE OUT
INT. SKYDIVERS' CLUBHOUSE - LONG SHOT - DAY
A few people - mostly men - sit at tables littered with cups. The Woodcarver enters through a door, a parachute slung over one shoulder, and looking neither left nor right, makes his way through the clubhouse.
FIRST SKYDIVER
Hey! Look who's risen from the dead. Haven't seen you for many a year.
SECOND SKYDIVER
Want to take over my old rig for a song? No strings attached! Ha ha ha.
The Woodcarver exits through a door at the far end.
FIRST SKYDIVER
He used to laugh at that. Wonder what's eating him?
INT./EXT. AIRCRAFT IN THE SKY - MEDIUM SHOT - DAY
The CAMERA leaves the aircraft just ahead of the Woodcarver, going from near blackness to the bright light in the open sky. As he leaps from the aircraft, the Woodcarver's mouth opens wide and we hear a tremendous ROAR which echoes and echoes and slowly fades out, to be replaced by the sound of AIR RUSHING by. The SONG "Dying to Live" fades in.
EXT. IN THE SKY - LONG SHOT - DAY
We see the Woodcarver revolving, then doing somersaults, then in an arch, and finally pirouetting.
EXT. LAWN IN FRONT OF CLUBHOUSE - LONG SHOT - DAY
The Woodcarver lies sprawled on his back, his head propped up on his container, while the canopy lies spread out on the grass. He chews on the stem of a flower which protrudes from his mouth. The first skydiver sidles up to him.
FIRST SKYDIVER
The fix working?
The Woodcarver beams a contented smile up at his colleague.
FADE OUT
EXT. JOHANNA's TERRACE HOUSE IN AMSTERDAM - LONG SHOT - DAY
The Woodcarver sits behind the wheel, Violetta's motor is running smoothly, Johanna and Dirk stand at the driver's door.
WOODCARVER
You guys, how do I thank you?
DIRK
By sending us postcards of all the nice places-
JOHANNA
He means all the warm places.
WOODCARVER
And the new clothes, Johanna. All these beautiful new clothes for my ever-growing family.
He holds up a puppet-size double-breasted, striped jacket from a gent's suit. He and Johanna exchange kisses on the cheek, Dirk shakes his hand.
DIRK and JOHANNA
Bon voyage! Bye.
ANOTHER ANGLE
Violetta drives off, Dirk and Johanna wave.
FADE OUT
EXT. PEDESTRIAN SHOPPING STREET IN COLOGNE - MEDIUM SHOT - DAY
Maqina lies on his stomach on top of the Castle, facing the middle, the Woodcarver stands at the other end. Their right arms are locked in an arm-wrestling match. In the background looms the towering steeple of the Cologne Cathedral. In the foreground the Woodcarver's face is contorted with the effort he exerts, yet it is Maqina who is slowly, inexorably gaining the upper hand.
ANOTHER ANGLE
The small crowd watch entranced. With a dramatic last effort, Maqina slams the Woodcarver's wrist against the deck.
MAQINA
Yiiiaaaaaa!
ANOTHER ANGLE
The spectators applaud as Maqina now does a victory dance, which takes the form of shadow-boxing. At the same time he SINGS his song, "The Luminous Innocent". NOTE: this scene is CROSSCUT with the next scene.
INT. UNATTRACTIVE OFFICE WITH WALL LOCKERS - CLOSE-UP - DAY
Strong, hairy hands clip a row of pens into a suit jacket's top pocket. A third hand enters frame, holding out a pair of office scissors. The first two hands take them and place them in an inside pocket. Next, the man receives a small, thick pad - the kind traffic police write out tickets on - opens it at a clean page, fixes an elastic band around it, and places it in a side pocket. We do not see the faces of these TWO SINISTER MEN. All their actions are underscored by OMINOUS SOUND EFFECTS. Something's coming, and it ain't good. Two locker doors are slammed. The men start walking. Their FOOTSTEPS sound unnaturally loud; very military.
EXT. PEDESTRIAN SHOPPING STREET - LONG SHOT - DAY
The Woodcarver and company continue to perform to a delighted crowd.
EXT. ANOTHER PEDESTRIAN SHOPPING STREET - CLOSE-UP - DAY
Two pairs of legs in suit trousers are cutting a swathe through the throng of pedestrians.
SHOT OF OLD HIPPIE GUITARIST
Sitting on a stool, he sings "Where Have All the Flowers Gone?", blissfully unaware of the impending danger.
SHOT OF ADVANCING LEGS
SHOT OF HIPPIE GUITARIST
Transported by the sound of his own singing, he performs now with eyes closed.
CLOSE-UP OF HIS STRUMMING FINGERS
Suddenly a pair of scissors enter the frame, cut, and all six strings fly into the air. They make an AWFUL SOUND - their own death rattle.
HIPPIE's POINT OF VIEW
He sees two pairs of suited legs, heavy shoes, and the scissors dangling from a hairy hand.
FIRST SINISTER MAN
We warned you last week.
HIPPIE
But I gotta play to eat!
SECOND SINISTER MAN
Not in this city, you don't.
FIRST SINISTER MAN
Count yourself lucky. Next time we take the guitar.
The two pairs of legs, with military timing, do a smart right turn and march off.
LONG SHOT
The hippie, now the men have left, stands up and clicks his heels together.
HIPPIE
Ja, obersturmfuhrer, nein obersturmfuhrer, three bags full obersturmfuhrer. Bastards!
EXT. FIRST PEDESTRIAN SHOPPING STREET - LONG SHOT - DAY
The Woodcarver and company play on.
ANOTHER SHOT
Close-up of marching legs.
ANOTHER SHOT
Close-up of King Sigurd's legs, trippling, then he does a backward flip, lands again on his feet, raises his top hat, and takes a bow. We hear LOUD APPLAUSE, but this is snuffed out as two dark shadows fall on the little marionette.
FADE OUT
INT. VIOLETTA - MEDIUM SHOT - DAY
The Woodcarver, at the wheel, SINGS the first verse of "Stamp, stamp", the song of the newest marionette, MR. SMOTHER.
ANOTHER ANGLE
The company sing the chorus.
ANOTHER ANGLE
Mr. Smother sings the second verse. And so on, and so on....
ANOTHER ANGLE
Maqina punches his punchbag, which has a picture of Mr. Smother's face on it - with a black eye.
EXT. FREEWAY - LONG SHOT - DAY
Violetta speeds along.
CROSS DISSOLVE
EXT. PEDESTRIAN SHOPPING STREET IN ZURICH - LONG SHOT - DAY
The Woodcarver and company soldier bravely on, performing in spite of the snow falling on them.
CLOSE-UP OF WOODCARVER
He blinks as the snow sticks to his eyebrows and his beard, which is longer now.
ANOTHER ANGLE
We see his head bent over as his gloved hands work the controls of a marionette. Suddenly a hand holding an identity card is thrust into frame, under the Woodcarver's nose. He squints at this, then slowly raises his head.
WOODCARVER's POINT OF VIEW
Two unpleasant-looking men in suits stand glaring at him.
FIRST MAN
By the power invested in me, I order you to take your, huh, things, und get raus!
The Woodcarver looks up, up into the sky that is snowing on him.
WOODCARVER
Am I really a threat to peace and order-
SECOND MAN
It is the law! A law passed by ministers in our Government. Raus! Raus!
FADE OUT
INT. VIOLETTA - MEDIUM SHOT - DAY
Four new marionettes, MINISTERS IN THE GOVERNMENT, are dancing and SINGING "The Polytician Tango".
EXT. FREEWAY - LONG SHOT - NIGHT
Violetta speeds on.
FADE OUT
EXT. STATUE OF DAVID IN FLORENCE - LONG SHOT - DAY
The CAMERA lovingly views the magnificent statue, then pulls back to reveal Miss Quote.
MISS QUOTE
Oooh! All these rudies, yuk!
EXT. PEDESTRIAN SHOPPING STREET NEAR STATUE - LONG SHOT - DAY
The Woodcarver unpacks the miniature organ and the king's small deckchair, and hangs various marionettes from hooks on the Castle. A curious crowd gathers. The Woodcarver switches on the MUSIC, and to the strains of "I Love You" he and King Sigurd start their act. Suddenly we hear VROOOOM, SCREEEECH as a gigantic police motorcycle draws up between the performers and the audience. Only one person belongs centre stage in this town, and that is Mussolini's kid brother, never mind his stunted growth. This diminutive COP, intercom radio blaring, just manages to place the huge bike on its side stand without flooring it, pulls a "ticket" book from a pocket with expansive movements, focusses, then swings his jackboot onto the footrest so his thigh forms a table for his book.
CLOSE-UP OF WOODCARVER
His jaw drops.
WOODCARVER's POINT OF VIEW
We see spectators shrugging their shoulders in deprecation and impotence.
COP
Passoporte!
Without looking up from his book, he holds out a hand.
FADE OUT
EXT. EIFFEL TOWER - LONG SHOT - DAY
The CAMERA lovingly views the tower, moving down and pulling back, till we see the Woodcarver on the terrace above the Trocadero Gardens, just beginning to unpack the Castle.
CLOSE-UP OF WOODCARVER
Seeing something out of the corner of his eye, his head jerks up.
WOODCARVER's POINT OF VIEW
A policeman looms over him.
CLOSE-UP OF WOODCARVER
His head jerks round.
ANOTHER ANGLE
A second policeman looms behind him.
CLOSE-UP OF WOODCARVER
His head jerks in another direction.
VERY LONG SHOT
The Woodcarver is surrounded by three policemen. One of them gesticulates, but we cannot hear him. SAD ACCORDION MUSIC plays. The Woodcarver packs up under the watchful eyes of the cops, then pulls the Castle cart behind him, across the square. The police disperse.
ANOTHER ANGLE
A YOUNG SENEGALESE approaches a group of tourists. In the background the Woodcarver looks on. Alert as a cat in danger, the young black man whips open his long overcoat to reveal 20 or so pouches containing postcards with different views of Paris. He quickly sells a few, closes his coat, and for all the world is once again just another tourist.
MEDIUM SHOT OF WOODCARVER
He looks bemused.
EXT. LAWN BESIDE EIFFEL TOWER - LONG SHOT - DAY
The Woodcarver sits with a group of SENEGALESE and a young white MAN and his GIRLFRIEND. Beside her lies a wooden flute.
WOODCARVER
But three policemen? That's heavier even than in Florence where they had me investigated for possible Mafia connections. I've heard of the Mafia being in the laundry business, but puppetry?
GIRL
The world has gone mad.
WOODCARVER
Then they say I have to have a permit. Everywhere they say that. I tried once playing it by the rules. Do you know how long it took in this one town, I forget where it was? Two weeks! In two weeks you can be dead from hunger.
MAN
Two weeks is nothing. We waited four months once.
FIRST SENEGALESE
Man, you must have been very dead by then.
They all laugh.
MAN
Well of course we kept playing, but in quiet spots, and always looking over your shoulder.
GIRL
We wanted to see if there was any limit to their madness.
WOODCARVER
And?
GIRL
It is... boundless. (Her mind is far, far away.) There is nothing so threatening as another person's freedom.
SECOND SENEGALESE
They got the heavy guns, so you don' confront them. You sidestep.
FIRST SENEGALESE
You get smart. Yeah man, you get smart. I saw this guy once, a really great acrobat...
CROSS DISSOLVE
EXT. PLACE IGOR STRAVINSKY IN PARIS - LONG SHOT - DAY
We see the acrobat performing against the backdrop of the fountain with its modern sculptures, then two policemen enter frame. The younger one pulls a "ticket" book from his pocket. The acrobat starts to run from the police - in slow motion and never moving from the spot, his expression that of a desperate fugitive. The senior of the two policemen gestures to the younger cop to get on with it; but he can't, he is transfixed, confused.
FIRST SENEGALESE (VOICE OVER)
(Continuing.)
...he was doing his number when the fuzz arrives. Now the average dude would react, well, in the average way. But not our hero. True, he started running from the cops, b u t - i n - s l o w - m o t i o n. It confused the hell out of them.
CROSS DISSOLVE
EXT. LAWN BESIDE EIFFEL TOWER - LONG SHOT - DAY
WOODCARVER
And?
FIRST SENEGALESE
The cops left. Did nothing. It wasn't in the manual, see?
INT. TRAIN CARRIAGE IN PARIS METRO - LONG SHOT
The Woodcarver has devised something ingenious - inspired by the Senegalese. King Sigurd, secured to a harness, is fixed to his chest and protrudes from an enlarged pocket in his shirt. His right arm remains under his shirt and moves His Majesty's arms and mouth via specially constructed controls. The right sleeve of the shirt is stuffed with a dummy arm and gloved hand, which is hooked into his belt. His left hand holds the "centabakje" for collecting money. Concealed on his person is a Walkman with tiny speakers. His old top hat has been replaced by a chapeau bras, the type of top hat that can fold up flat. The Woodcarver moves along the carriage while King Sigurd SINGS "Till the Singer is the Song". Delighted commuters put money in the "centabakje". As the train draws into a station, the Woodcarver scans the platform. Suddenly he removes his hat, folds it flat, closes his cape over the puppet, and becomes your average commuter. The train stops.
ANOTHER ANGLE
He disembarks, passing two policemen who now board the train he has just left. The Woodcarver crosses the platform, enters another train that has just pulled in. As the doors close, he activates a lever which allows the flattened hat to spring to its full size. He places it on his head and looks out at the train he has just left. He smiles a little victory smile.
ANOTHER ANGLE
We see the one policeman nudging the other and pointing to the Woodcarver. They try to open the doors, but it is too late. Their train has started moving.
ANOTHER ANGLE
King Sigurd waves at the policemen.
FADE OUT
EXT. BUSY PARIS STREET - LONG SHOT - NIGHT
The Woodcarver wearily mounts the stairs leading from the underground station and steps into the pedestrian throng, and right into the path of a man in CHEF's clothes carrying what looks like a wicker cat's basket - only it is filled with live frogs. The basket hits the ground and the lid jumps open. Before it falls shut, one frog manages to leap out. The chef lunges after it, swinging wildly with a meat cleaver.
CLOSE-UP OF WOODCARVER
He is staring up at something.
HIS POINT OF VIEW
We see a restaurant signboard with a picture of a smiling frog, advertising frogs' legs as the speciality of the house.
EXT. FREEWAY - LONG SHOT - DAY
Violetta speeds along.
INT. VIOLETTA - MEDIUM SHOT - DAY
In the centre of all the puppets stands a small wheelchair in which sits the newest addition to the family: JEAN-PHILIPPE DE CHANTEPIE, a froggy with no leggies at all.
JEAN-PHILIPPE
I care not where we go, as long as it is away from those fiendish French carnivores. Mon dieu! Mon dieu!
WOODCARVER
Easy now, Jean-Philippe, easy now. Calm yourself.
JEAN-PHILIPPE
(Meditatively.)
Ancient pond. Frog jumps in. Plop. Ancient pond. Frog jumps in. Plop. Ancient pond. Frog jumps in....
As his mantra fades away, the Woodcarver leads the SINGING of the song "Froggie With No Leggies At All", the others joining in where appropriate. It spills over into the next scene.
EXT. FREEWAY - LONG SHOT - DAY
Violetta speeds along.
EXT. WINDING FOREST ROAD - LONG SHOT - NIGHT
Violetta draws to a halt.
INT. VIOLETTA - MEDIUM SHOT - NIGHT
MAQINA
Where are we?
YIN-YIN
(Sounding fey.)
Why, we're in Heidelberg, of course.
We hear the sound of MIDDLE EASTERN MUSIC - YATRI's THEME.
EXT. HEIDELBERG - LONG SHOT - NIGHT
We see the old castle on the hill, the old bridge over the Neckar, the old town with the famous university.
FADE OUT
EXT. SIDE STREET IN CENTRE OF HEIDELBERG - LONG SHOT - NIGHT
The Woodcarver is standing at the open door of the parked Violetta. He wraps a thick scarf around his neck and buttons his coat.
WOODCARVER
Be good. I'm just going to recce the joint.
He locks the door and walks off.
EXT . PEDESTRIAN SHOPPING STREET - LONG SHOT - NIGHT
It is December and Christmas lights are everywhere. The Woodcarver ambles along. Up ahead the crowd is denser, clustered around a candelabrum with the flames of the candles flickering in the lightest of breezes. As he gets closer we distinguish a grey top hat just below the candelabrum, then the top of an upright piano becomes visible. At last we see the PIANIST, a young man in tails, playing, transported as he comes to the end to a piece by Schumann. His audience listen reverently. When he is done, there is complete silence. Then follows the strangest clapping you ever did see: all the hands go through the motions of clapping, but there is nary a sound as all are wary of breaking the spell. At last the PIANIST turns round and addresses them in a Scottish brogue thicker than haggis.
PIANIST
Entschuldigen sie mir, bitte. That last bit was not what it should have been, but my fingers were slipping. There is ice on the keys.
The crowd surge forward to place their money in the pianist's upturned top hat. When the rush is over, he closes the lid, blows out the candles, and pushes the piano, which is on wheels, to a van parked just off the shopping street. The Woodcarver approaches him.
WOODCARVER
I'm a street artiste too. Marionettes. When you get your butt kicked time and time again, you wonder why you ever left the comfortable numbness of an office job. Then I see something like this- (He gestures the piano, the pianist, the street.) -and I know, this is what a better world would look like. I salute you.
FADE OUT
EXT. A QUIET STREET IN HEIDELBERG - LONG SHOT - NIGHT
The Woodcarver examines a piece of paper in his hand, looks up at a doorway, then rings the bell. There is the SOUND of the intercom being activated.
MAN's VOICE
Ja?
WOODCARVER
Hello. Guten abend. I'm looking for Yatri. Do I have the right house?
MAN's VOICE
(Cautiously.)
Who is this?
WOODCARVER
Sigurd. Sigurd Olivier. I'm from Amsterdam.
MAN's VOICE
(Slowly.)
Ach so. The man with the- Simian hands? Ja?
WOODCARVER
Ja. Yes.
The buzzer goes, and the Woodcarver enters the house.
INT. AN ACADEMIC's LIVING ROOM - LONG SHOT - NIGHT
A slightly shrunken man with a shock of silver hair - this is MAX BIESENDORF - opens the living room door to receive the Woodcarver. Max appears considerably older than Yatri. He takes the Woodcarver's proffered right hand in his like a scientist handling an interesting specimen.
MAX
Willkommen. So this- these are the hands that should do wonderfully creative things, hmmm?
Max smiles mischievously, and the Woodcarver blushes.
MAX
Ach, do not worry. We academics are not all... how should I say, fossilised. The sabre fights over a man's honour belong to the past. I am afraid I must disappoint you; Yatri is not here now. Let me take your coat. A cognac? Or would you prefer coffee?
WOODCARVER
Coffee, thank you.
While Max disappears into the kitchen, the Woodcarver examines the many books in the room. He comes at last to a book that captures his interest.
CLOSE-UP OF BOOK
We see the title: "Nibelungenlied - the Meandering Myth", by Dr. Jasmin von Bingham. The book is turned over and we see a photograph of Yatri on the back cover.
CLOSE-UP OF WOODCARVER
He looks puzzled.
ANOTHER ANGLE
As Max re-enters, carrying a tray, the Woodcarver motions with the book.
WOODCARVER
This is Yatri? Isn't it?
Max examines the book.
MAX
Ah, the English translation. Yes, that is Yatri. When she was still yoked to the academic wagon and writing under her own name. Rising young star - at 32 the youngest assistant professor we had. Her Persian blood-
WOODCARVER
Persian?
MAX
Oh she's a veritable United Nations when it comes to blood. But she is particularly fond of the Persian pint - or litre. That is why she traces - in her book there - the origins of the German - in inverted commas - legend, to its Persian origins. And thence northwards, all the way to- where is it? She's the historian. I'm the linguist.
WOODCARVER
All the way to Scandinavia.
MAX
Ah! You are familiar with the Nibelungenlied? How sur- What a delightful surprise.
WOODCARVER
Not really surprising. I'm named after the hero. Not the Persian one. Not the German one. That's Siegfried. But the Scandinavian one, King Sigurd. Just natural curiosity, I guess. I wanted to know who this guy was that I was named after, and whether I had anything in common with him.
MAX
And do you? He was quite a- guy, as you would put it.
WOODCARVER
No. But I did the next best thing. My first marionette, my alter ego, has all those shining qualities.
MAX
Ah! So those hands have been creating wonderful things?
WOODCARVER
I have carved a whole company- family- of marionettes, and I perform on the streets of Europe. That is, when I'm not being kicked off them.
MAX
I see. And are they- wonderfully carved?
The Woodcarver pulls a photograph from a pocket and hands it to Max, who examines it carefully before speaking.
MAX
(Continuing.)
So Yatri read you well. That restores some confidence. I have doubted. Yes. Doubted.
WOODCARVER
I am not following you.
MAX
(The absent-minded professor.)
She has been under great strain this past year, being in two worlds simultaneously: to do her psychic work she has to be so open, so vulnerable; and to deal with the - how do you say, nitty-gritty? - of the publishing business, she has to close down, become hardened.
WOODCARVER
She's working on another book?
MAX
On the paranormal. Yes. The publishers say she is writing in a language incomprehensible to the layman. But when they simplify her text she says it no longer means what she intended. Then she flies into a rage and calls them Philistines with artistic pretensions. Nothing new there; Flaubert was saying that a hundred and fifty years ago. I suspect both sides have a point, but the problem is that Yatri has been suffering mentally. She has become- unstable. And because of my- ambivalence? - she has lost her trust in me. I am no longer the anchor she had come to expect me to be.
WOODCARVER
Where is she?
MAX
I do not know. I think somewhere on the shores of the Bodensee. And I pray to god not in it.
FADE OUT
EXT. WINDING ROAD ON SHORES OF BODENSEE - LONG SHOT - DAY
Violetta drives along this road.
INT. VIOLETTA - MEDIUM SHOT - DAY
The Woodcarver is looking for something, someone. His head keeps turning to look out the side window.
MONTAGE of shots follows: the company performing, Violetta driving along with the Woodcarver searching, the odd spotting of a figure which just might be Yatri, discovering it is not. We travel through - among others - Stein-am-Rhein, with its beautiful murals. A woman sitting on a terrace might be Yatri - but isn't. A woman sitting under a giant birch at the end of the breakwater in Bregenz Harbour might be Yatri... A worshipper in a pew in the Birnau Basilica, seen from behind, might be Yatri... A woman leaning over the balustrade of the bridge spanning the gorge beside the old castle in Meersburg... Is she about to jump? The Woodcarver, who has been performing on the steps below, abandons his puppets and runs up to remonstrate with her, but when he arrives on the bridge she is gone.
EXT. LINDAU HARBOUR - LONG SHOT - DAY
In spite of the exquisite view across the harbour, the lake, to the snow-capped Alps in the distance, it is with drooping shoulders and a heavy heart that the Woodcarver starts to perform with King Sigurd. MOURNFUL MUSIC, "Watching the River Run", plays as they go through their paces.
CLOSE-UP OF WOODCARVER
He suddenly stiffens and his dull gaze changes to rivetted attention.
WOODCARVER's POINT OF VIEW
A rucksack is propped up against the stone tower, and beside it stands a thermos flask.
ANOTHER ANGLE
He abandons his surprised audience and, sweeping poor King Sigurd along with him, goes to have a closer look at the flask. He looks at it long and hard, not absolutely certain it is the one he gave Yatri. He looks about him but cannot spot any likely owner of the satchel and flask. Shaking his head, he returns to his position in front of the Castle, and continues his lacklustre performance.
ANOTHER ANGLE
The tourist ferry from Bregenz is docking. The gangway swings into position and the passengers start to disembark. A woman with her back to us - she could be a stewardess or tourist guide - hands sheets of paper to the disembarking passengers who glance at the pages, look confused, shrug their shoulders, and one by one crumple up the pages and throw them away. Some flutter in the breeze. Then the woman turns around.
CLOSE-UP OF WOODCARVER
Recognition and shock register on his face.
ANOTHER ANGLE
He hurriedly hangs King Sigurd from a hook on the Castle and starts walking towards the woman.
WOODCARVER's POINT OF VIEW
The woman is indeed Yatri, dishevelled and with a wild look in her eyes. She peels another sheet of paper from the wad she is holding and hands it to the Woodcarver - apparently not recognizing him.
TWO-SHOT
He takes it and glances at it peremptorily.
WOODCARVER
Your manuscript! Yatri, for god's sake, what are you doing?
YATRI
Doing? Why, if no one wants to publish it as it is, then I have to publish it myself. Don't I? Hmm?
She turns to hand a sheet of paper to someone passing by. The Woodcarver clasps both her shoulders and forces her to look at him.
WOODCARVER
Yatri! It's me. Remember?
She looks at him for a long time. She is light years away. Will she ever make it back? Her faraway gaze shifts, going beyond the Woodcarver, to the Castle and all the puppets.
YATRI's POINT OF VIEW
She examines the tableau.
CLOSE-UP OF YATRI
After what seems an eternity, she speaks, softly.
YATRI
Would you... empower me?
FADE OUT
EXT. FOREST IN THE FOOTHILLS OF THE ALPS - LONG SHOT - NIGHT
A big wood fire is burning brightly. In the far distance loom blue-black mountain peaks, the lightness of their snow mantle just distinguishable in the faint starlight. The Woodcarver, wearing a full-length overcoat, is placing more logs on the blaze, their altar. Beyond it sits the huddled figure of Yatri, wrapped in a blanket. The Woodcarver walks to Violetta, close by, pulls a remote control from his coat pocket, points it at the Castle which is visible through the open doors, then returns to the fire. NATARAZ MUSIC starts to play. During the gentle, slow, opening bars the Woodcarver stands motionless before the fire. This is not a dance the dancer dances; it is a dance the dance dances with the dancer. Imperceptably at first, a muscle contracts here, then there, in the Woodcarver's body. It is like an enormous flywheel that is slowly - slow as molasses in January - being coaxed into motion. Now the dance takes possession of him, the coat flies off, and the Woodcarver transmutes into a free-dancing, whirling dervish. He is wearing the blood red pantaloon trousers and the oriental waistcoat Yatri gave him long ago, a white fleecy shirt with wide, flared sleeves, and high boots. Yatri looks up from her introversion and it becomes clear the Woodcarver is dancing for the both of them. The dull glaze over her eyes fades, and a spark enters. The dance builds to a climax higher than Mont Blanc-
CUT TO BLACKNESS
In the dead silence that ensues, the CAMERA searches along the ground, now one shade less black, finds the dying embers of the fire and then, beyond it, Violetta. A door is open a crack, through which we enter. There lie Yatri and the Woodcarver, like two spoons, facing the fire. The deep orange light of the glowing logs is reflected in their eyes. Slowly the Magic Mirror enters the frame as the Woodcarver holds it in front of Yatri's face.
CLOSE-UP OF MIRROR
Yatri studies herself in the mirror, then smiles.
YATRI
So it is true. I was not at all sure, back there, where I was.
WOODCARVER
What is true?
YATRI
However low you go, that's how high you will soar.
WOODCARVER
But Yatri, silly, you're the one who said it.
YATRI
And you're the one who proved it.
FADE OUT
EXT. LINDAU RAILWAY STATION - LONG SHOT - DAY
It is snowing as Yatri and the Woodcarver walk along the platform.
TWO-SHOT
WOODCARVER
I'm not saying sacrifice your integrity. No. But a little compromise - vot ish a leetle compromise, hey?
Yatri gives him a look.
WOODCARVER
(Continuing.)
I know... Publishers, publishers.... but what good is it if you are uttering the greatest truths ever, but no one can hear you? Let the little buggers water you down a bit. Sometimes, to win you have to loose a little first.
Train conductor's WHISTLE sounds. A last embrace, a kiss.
WOODCARVER
(Continuing.)
And write to me. In Amsterdam, care of Johanna. I'll be back there in the summer.
Yatri boards the train. She reappears behind a frosty window. As the train starts moving, she holds up the thermos flask, and waves.
FADE OUT
EXT. BORDER POST BETWEEN SPAIN AND GIBRALTAR - LONG SHOT - DAY
We see an almost endless queue of cars waiting to cross from Spain into Gibraltar.
INT. VIOLETTA - CLOSE-UPS - DAY
MISS QUOTE
But why Gibraltar of all places! Someone of my talents belongs in the cosmopolitan heart of this world. I protest!
GALL
Oh my fibrillating sphincter!
WOODCARVER
My dear Miss Quote, you may have noticed that the bigger and more touristy the city we play in, the harder we get our butts kicked. So I've opted for the smallest country in the world, or thereabouts.
MAQINA
And we'll be able to see Africa from here.
MISS QUOTE
Oh my god! Why don't we just head straight for Timbuktu and get done with it.
EXT. BORDER POST - LONG SHOT - DAY
We see the long line of cars, but Violetta is now close to the crossing.
INT. VIOLETTA - MEDIUM SHOT - DAY
MR. SMOTHER
Have all the necessary forms been filled in - in quintiplicate!
ANOTHER ANGLE
We see two brand new puppets, RANK and FILE, pop up from beneath a sewer cover where they have been carrying out repairs. These are the yes-men.
RANK
Yes, sir-
FILE
No, sir-
RANK and FILE
Three bags full sir.
They burst into the "Rank and File" SONG, with the others joining in where necessary.
EXT. BORDER POST - LONG SHOT - DAY
As the SONG continues, we see a mother helping a small boy to urinate at the side of the road. Here and there people have left their cars, and are stretching stiff limbs.
INT. VIOLETTA - MEDIUM SHOT - DAY
The Woodcarver is singing the chorus of the song, when a YOUNG MAN appears at the driver's window. He looks at the Woodcarver, then his gaze shifts involuntarily as he sees the family of puppets, and his eyes widen in wonder.
YOUNG MAN's POINT OF VIEW
He sees the puppets over the Woodcarver's shoulder. The song has stopped and they are motionless.
YOUNG MAN
Wow! (Collecting his thoughts.) Sorry to do this to you, but this is a camper, isn't it?
The Woodcarver nods.
YOUNG MAN
(Continuing.)
Do you have a chemical toilet? It's my dad, you see. He's old and-
WOODCARVER
Of course of course.
He quickly gets out of the van.
EXT. BORDER POST - LONG SHOT - DAY
The young man and the Woodcarver go to the car ahead of Violetta and help a shaky old man into Violetta.
EXT. BORDER POST - TWO SHOT - DAY
While the line of cars remains stationary, the young man extends a hand and introduces himself.
YOUNG MAN
I'm Paco. Paco Parody.
WOODCARVER
Sigurd Olivier.
PACO
This is really very decent of you-
WOODCARVER
Oh come on. It's the least I can do.
PACO
Those are great puppets in there. You make them yourself?
WOODCARVER
Yes. Carved them all from wood. They're more than puppets to me: they're family.
PACO
Were you coming to perform in Gibraltar?
WOODCARVER
That's right. Assuming we ever get in there. What's the hold-up?
PACO
(Genuinely surprised.)Hold-up? Oh! This? (Gestures to queue.) This is normal. You don't want to be here when they've really got it in for us. Then you can be in this queue for eight hours. But they save that mostly for mid-summer. Then the old folks, like my dad, start fainting from heat exhaustion.
WOODCARVER
But why? That's barbaric.
PACO
The Spanish want The Rock back, and they've wanted it for three centuries now.
WOODCARVER
Why don't the British give it back then?
PACO
Because it's not theirs to give back. It's ours. It belongs to us now.
WOODCARVER
Who's us?
PACO
The Gibraltarians.
WOODCARVER
But you are British, aren't you?
PACO
British. And Genoese. And Portuguese. And Spanish. And Jews. And Moslems. And- A touch of Neandertal.
ANOTHER ANGLE
Violetta's door opens and Paco goes to help his father. When he has installed him in their car, he calls to the Woodcarver.
PACO
We're moving again. I'll wait for you on the other side. I owe you a drink.
ANOTHER ANGLE
Both men get into their vehicles, and the queue of cars moves forward. We hear the beginning of the SONG "The Rock".
EXT. SPANISH CUSTOMS AND IMMIGRATION - LONG SHOT - DAY
Several unpleasant-looking uniformed OFFICIALS descend on Violetta. The Woodcarver hands over his own papers and those of the van. A customs man orders him to open the back door of Violetta.
ANOTHER ANGLE
A customs man roughly fingers various puppets as he rummages through the interior.
TWO SHOT
CUSTOMS MAN
(Routinely.)
Anything of value to declare?
WOODCARVER
No.
CUSTOMS MAN
(Smiling deceitfully.)Except the puppets, hey? They must be of very much value to you.
WOODCARVER
(Unsuspecting.)Oh yes! Oh yes! They're my treasure, my whole life now.
CUSTOMS MAN
You have papers for them?
WOODCARVER
Papers?
CUSTOMS MAN
You bring things of value into Spain from Holland, now you take things of value out of Spain. So where are the papers?
WOODCARVER
(Beginning to panic.)But I didn't buy them, you see? I made them myself, carved them.
He makes carving motions with his hands. The customs man ignores this and motions for him to pull Violetta into a bay beside the customs offices. Numb with shock, he complies.
EXT. GIBRALTAR CUSTOMS AND IMMIGRATION - LONG SHOT - DAY
Paco is standing beside his car, talking with a policeman dressed like an old style English BOBBY with helmet. Paco gesticulates angrily, pointing from time to time towards Violetta and the Woodcarver, whom we see in the distance.
EXT. VIOLETTA - LONG SHOT - DAY
Customs men enter Violetta and emerge with one marionette in each hand, then pass through a doorway in a high brick wall next to the customs offices. Beside himself with distress, the Woodcarver moves in a bumbling fashion, following the men a few paces, then returning to Violetta, then following them for a few paces, his lips moving soundlessly as Violetta is violated, and the nest plundered bare.
WOODCARVER's POINT OF VIEW
We see the customs men walk some way into a vast fenced compound, then enter an open shed on one side, to emerge empty-handed. In the compound, lining the fence, are a variety of confiscated items, including a few cars. When all the puppets have been carried into the compound, the last of the customs men emerges, swinging the door shut behind him. We hear the resounding CLICK of the latch as the spring-lock shoots into place. The Woodcarver stands like a zombie till the senior customs man hands him a wad of papers.
TWO-SHOT
WOODCARVER
W h a t - i s - g o i n g - t o - h a p p e n?
The customs man pulls out a large cigarette lighter, flicks it, then turns the flame full on.
CLOSE-UP
Through the large flame we see a hazy leer on the official's face. He says nothing, but conveys much.
CLOSE-UP OF PACO
An icy calm hides a volcano that is close to erupting.
TWO-SHOT
BOBBY
I would wish them in hell, but look at their faces... they are there already.
INT. VIOLETTA - CLOSE-UP - DAY
The Woodcarver is deeply wounded and confused. He sits behind the wheel, but for the life of him does not know what to do next. We hear the SONG "Cherish the Memory". A customs man appears at the driver's window, gesticulating and shouting, but we do not hear him. The Woodcarver turns the ignition key, the motor starts... but we hear nothing. Only the song. Violetta moves slowly towards the bobby who salutes, gives a little bow by way of apologizing for what has happened, takes the Woodcarver's passport, disappears, returns almost immediately to hand it back, and we see his lips moving as he utters consoling words... but we hear nothing, only the song. As Violetta moves off, the first tears begin to roll down the Woodcarver's cheek.
FADE OUT
INT. MODEL SHOP - LONG SHOT - DAY
Paco enters the shop from the street, holding his father by the arm. Behind them come Paco's MOTHER, the Woodcarver, followed by Paco's teenage brother, JERRY. We see model trains, model cars, kites, model aeroplanes, and model helicopters. The Woodcarver glances about him as he walks through the shop, but without much interest. He is traumatised. At the end of the small shop, they go up stairs.
INT. LIVING ROOM ABOVE SHOP - LONG SHOT - DAY
All are seated and Paco's mother is serving tea and biscuits.
WOODCARVER
But what do they achieve by punishing visitors to Gibraltar? After all, what did the tourists do to them?
PACO's FATHER
They keep our economy alive. By, ah, discouraging our visitors, they hope to throttle us. If the economy fails, we become easy pickings. Or something like that. One thing is certain in the very long history of The Rock, and that is that people, nations, will continue to fight for possession of this, one of the world's greatest natural fortresses. Since Neandertal Man found refuge in the caves here 120 thousand years ago, people have been fighting over this six kilometre peninsula.
JERRY
(Proudly.)
With 140 caves, and tunnels criss-crossing The Rock, man, you can hide an army in here.
WOODCARVER
So what is the solution?
PACO
We Gibraltarians want to govern ourselves.
WOODCARVER
A city state.
PACO
A what?
PACO's FATHER
Plato. Plato's "Republic". You read him. I tell you, read anything, instead of this playing with children's toys.
PACO
Dad, flying a model helicopter is a serious skill. Besides, the shop supports us.
PACO's FATHER
So? Run the shop and read Plato.
PACO
(Tenderly.)
Yes dad.
PACO's FATHER
But not now. First we have to find a way of helping our friend here. He must be re-united with his... family.
He turns to the Woodcarver.
PACO's FATHER
(Continuing.)
What I saw in your van there, was a real treasure. Now going the official route would take six months, and there's no guarantee it will work. Besides, in the meantime those misguided souls down there won't be taking the greatest care of your puppets.
CLOSE-UP OF WOODCARVER
He winces.
PACO's FATHER
(Continuing.)
My friend, we are going to do everything we can to help you.
WOODCARVER
I can't expect you to put yourselves out-
PACO's FATHER
You do not understand. Getting one over on those- those people at the border will be all wool and a yard wide.
PACO
Which is old English for... great.
WOODCARVER
But what can we do?
There is a long silence. Everyone is in deep thought. At last the Woodcarver speaks.
WOODCARVER
We must wait for the solution to drop out of the sky.
Everyone turns to look at him.
WOODCARVER
The way it works for me is this: I feed all the information I have into my computer - my brain - and then I wait. The less I do then, the quicker the solution comes. And it really does just fall out of the sky.
PACO's MOTHER
We Catholics - and we're mostly Catholics on Gibraltar - call that praying, and having your prayers answered.
PACO
In that case, let's go and do nothing! Or more accurately, you do nothing. I have to go out to Europa Point with the trailer to service the boys. It's a regular club meeting today. If you'd care to come along...
WOODCARVER
What club meeting?
PACO
Model aircraft.
EXT. NARROW STREET - LONG SHOT - DAY
Paco and the Woodcarver emerge from the shop. As they walk past Violetta, Paco claps the side mirror on the street side closed.
PACO
Always do that in Gibraltar. If you want any mirrors left.
WOODCARVER
How peculiar. Why?
PACO
Our streets are so narrow, that's the only way two cars can pass.
At that moment he pulls the Woodcarver to one side, and we see a car passing Violetta with millimetres to spare.
PACO
(Continuing.)
Only just in time. Now, give me a hand hooking up the trailer.
INT. PACO's CAR - MEDIUM SHOT - DAY
They drive along Europa Road, towards the point of the peninsula.
EXT. CRICKET FIELD AT EUROPA POINT - LONG SHOT - DAY
The lid of Paco's trailer is folded down and we see numerous shelves and drawers with a variety of spare parts for model aircraft. A few HOBBYISTS stand around awaiting their turn, while Paco serves one of them. Beyond this we see the Woodcarver sitting on a bench, looking out to where the NOISE OF MODEL ENGINES is coming from.
WOODCARVER's POINT OF VIEW
Out on the cricket field a helper is holding onto the tail of an airplane while the "PILOT" holds the radio controls in his hands.
PILOT
Okaaaaay!
The aircraft races off. JIM, a model helicopter pilot, enters frame, holding his radio controls. He concentrates intensely as he works the tiny joysticks. Slowly, coming from above, a model helicopter moves into the frame... down, down, till it touches ground.
TWO-SHOT
Paco drops onto the bench beside the Woodcarver.
PACO
Neat, hey?
WOODCARVER
Absolutely amazing.
PACO
My dad calls them toys, but I tell you, I see something else. This is man's ingenuity at its best. And do you know what kind of power there is in that beast?
WOODCARVER
Impress me.
PACO
(Mock serious.)I'd tell you a story if I didn't think you'd run off and spill it to the Spanish customs.
WOODCARVER
Come on...
PACO
Well Jim here uses that helicopter of his to ferry cigarettes from Gibraltar to Spain.
WOODCARVER
Smuggling!
PACO
Shhhht! Jim's in import/export. Works night shifts. He says doing it this way certainly beats pounding your kidneys to pulp in a high-powered speedboat like the other guys in his line of business.
WOODCARVER
But can he really make money that way? I mean, what sort of payload can that helicopter carry?
PACO
Twenty kilos. When you consider the weight of cigarettes, it's almost as good as printing your own money. But she's a baby. Take a look at this-
ANOTHER ANGLE
Paco opens a large drawer at the bottom of his trailer and we see a gleaming monster of a model helicopter.
WOODCARVER
Wow wow wow wow!
PACO
Thirty kilos. That's what she can lift. Now that's impressive-
CLOSE-UP OF WOODCARVER
There is a faraway look in his eyes.
CLOSE-UP OF PACO
PACO
Hello? You with us? I said that's impressive, hey?
CLOSE-UP OF WOODCARVER
The faraway look is giving way to a smile.
WOODCARVER
(Cautiously.)
Paco, I do believe that the answer - part of the answer - to my problem has just fallen out of the sky.
TWO-SHOT
The Woodcarver and Paco look at one another for a long moment, saying nothing.
CLOSE-UP OF PACO
His face slowly breaks into a smile.
PACO
I think he's got it!
WOODCARVER
(Singing.)The 'plane in Spain falls mainly like the rain...
PACO
By Jove! I really think he's got it.
WOODCARVER
(Singing.)The 'plane in Spain falls mainly like the rain...
PACO
Okay. So we can airlift the puppets out. But how do we get someone inside that compound to hook them up?
The Woodcarver settles on the bench again, and looks upwards.
WOODCARVER
It's time for some more blue sky research.
FADE OUT
INT. PACO's CAR - MEDIUM SHOT - DUSK
They drive back to town via the impressive eastern side of The Rock, through the Dudley Ward Tunnel, past Sandy Bay and Catalan Bay.
EXT. DESERTED STRETCH OF THE COASTAL ROAD - LONG SHOT - DUSK
Suddenly, to the sound of SCREECHING TYRES, the car pulls up.
EXT. PACO's CAR - MEDIUM SHOT - DUSK
Through the windscreen we see Paco turn to the Woodcarver and scream. We hear nothing, but his lips mouth the word "What!" The Woodcarver gives a little apologetic shrug, but this does not prevent Paco from loosing a tirade at his new friend. With the oddly ridiculous gestures of a lovers' quarrel - "I hate you because I love you" - Paco runs out of words and resorts to a long-suffering gearbox which we hear GRATING. Somewhere in there he finds a gear willing to engage, and the car humps into motion. By the time they get to the foot of the sheer north face of The Rock, it is dark and the white cliff glows with a ghostly incandescence under the brilliant glare of floodlights.
EXT. NORTH FACE - LONG SHOT - NIGHT
The two men, having parked the car, now stand at the foot of the sheer north face of The Rock, staring up at it. The sight is overwhelming, breathtaking, stupendous.
TWO-SHOT
The two men's gazes drop, their heads turn to face one another. The other-worldly light lends something maniacal to their faces.
INT. PACO's LIVING ROOM - LONG SHOT - NIGHT
The whole family is sitting about, staring at the bathroom scale in the centre of the room. The Woodcarver lifts his parachute onto the scale, keeping it balanced with the help of just one finger, and peers at the numbers.
WOODCARVER
Eight kilos! That's nothing.
PACO
And the puppets?
WOODCARVER
Not even that, I'm sure. But even if I'm hopelessly wrong, I swear it's not more than ten, twelve. And that means we're well within the limits.
JERRY
And the net? It's got to be strong.
PACO
Not even a kilo.
WOODCARVER
So? We're laughing.
PACO
(Deadly serious.)Yeh. Just look at us. Laughing.
WOODCARVER
Paco, be reasonable. How else am I, or anyone else, going to get into that compound?
PACO
But are you even going to reach it?
WOODCARVER
The Rock's 426 metres high-
PACO
That's O'Hara's Battery. That's not where you'll be launching from.
WOODCARVER
Okay, okay. Say 400 metres. Now from the North Face to the customs post is 1800 metres, call it a nice round 1729-
PACO
Round? You call that round?
WOODCARVER
Well, let's just call it a lucky number.
PACO
(Rolls his eyes.)That is as the crow flies. But you said yourself, wind speed, wind direction, even the goddamn temperature-
PACO's FATHER
Paco! Your language!
PACO
Sorry dad.
WOODCARVER
To make it, as the crow flies, I need a parachute with a descent ratio of one in four and a half. And I've got one that descends at a rate of one in seven. That leaves a fair margin for error.
PACO
And all this at night! Have you ever jumped at night?
WOODCARVER
(Cautiously.)Twice. Some time ago. (Becoming optimistic.) But I reckon I'll be able to handle it.
JERRY
The noise of the helicopter, what you going to do about that?
PACO
(Resignedly.)There's a commercial flight I know of that comes in at four in the morning. It'll be sufficient to drown out the noise we make.
The CAMERA does a round of the room, registering the tensions of each one in turn.
FADE OUT
EXT. UPPER CABLE CAR STATION - LONG SHOT - DAY
Jerry and the Woodcarver emerge from the cable car.
EXT. TOP OF THE ROCK, NEAR THE NORTH FACE - LONG SHOT - DAY
The Woodcarver and Jerry examine the terrain, looking for a good spot for the launch. In the distance we see the customs post.
WOODCARVER
(to himself)
I'm coming. Just hang in there, my little ones.
INT. PACO's LIVING ROOM - LONG SHOT - DAY
The main canopy of the parachute covers most of the room. At one end sits Paco's mother, at work with her sewing machine. The Woodcarver explains something to Paco and Jerry.
WOODCARVER
We have to get this parachute to behave like a paraglider, which means it's got to be inflated when I launch myself. That's why your mom is sewing two inverted cups to the end cells. This is where we insert those carbon fibre rods you use for kites. That way we can help the canopy to inflate.
JERRY
If we've got a breeze on the night.
WOODCARVER
Air moving across land towards the sea - which it does at night - will rise when it comes to an obstacle, in this case a gigantic lump of rock. There should be a nice little current flowing over the ridge.
EXT. CRICKET FIELD AT EUROPA POINT - LONG SHOT - DAY
The Woodcarver is wearing his parachute harness, with the inflated main canopy streaming behind him. Paco and Jerry hold carbon fibre rods about two meters long, the ends inserted into the cups sewn to the outside of the end cells. The Woodcarver starts to run forward, lumberingly against the drag of the inflated canopy, and Paco and Jerry's rods slide out of the cups. The woodcarver draws up after a few metres and the canopy sags to the ground.
ANOTHER ANGLE
Paco and Jerry walk over to him, where he is unbuckling the harness.
PACO
Looks okay, huh?
WOODCARVER
Looks good.
PACO
Okay, step two. Practise hooking up the net to the helicopter. And believe me, Jim is the best man for this job.
JERRY
Twice European Champion!
PACO
What he can do with a helicopter, you couldn't do with a bicycle on a chandelier!
WOODCARVER
As long as he doesn't forget it's my family he'll be lifting.
ANOTHER ANGLE
Jim sidles up to them.
JIM
They'll be safe as a crate of contraband.
EXT. CRICKET FIELD - LONG SHOT - DAY
The SONG "The Rock" starts playing, and continues till they pass the North Face of The Rock. Paco's super helicopter hovers several metres above the ground. Beneath it stands the Woodcarver, looking up. A cable with a carabiner attached unwinds from a winch in the helicopter. On the ground lies a net containing the parachute and a bag filled with ballast. When the cable is close to the ground, the Woodcarver hooks the net to the carabiner and steps back.
ANOTHER ANGLE
Jim is in the foreground, the radio controls clearly visible. His concentration is intense as he caresses the joysticks. OVER HIS SHOULDER we see the helicopter taking up the slack in the cable. The ENGINE NOISE increases as the helicopter gradually starts to rise, lifting its payload.
CLOSE-UP OF PACO
He gives the thumbs up with both hands.
CLOSE-UP OF WOODCARVER
He shakes his head in approval and smiles.
EXT. PACO's CAR AND TRAILER ON DEVIL's TOWER ROAD - LONG SHOT - NIGHT
The car draws level with the North Face of The Rock and stops.
PACO's POINT OF VIEW
His gaze moves slowly up the sheer white face.
ANOTHER ANGLE
Through the open driver's window we see a tremor run through Paco's body. He turns to face the Woodcarver.
WOODCARVER's POINT OF VIEW
Paco shakes his head.
PACO
(Slowly.)
We are completely out of our minds. You know that, don't you?
FADE OUT
EXT. GIBRALTAR SIDE OF BORDER POST - LONG SHOT - DAY
The Woodcarver and Paco and his parents stand looking in the direction of the Spanish customs.
THEIR POINT OF VIEW
The latched door to the compound opens and a customs official emerges.
ANOTHER ANGLE
Paco turns round to face his father.
PACO
That's the door. Don't stare, don't stare! We don't want to be conspicuous.
PACO's FATHER
And that is where you want me to have my heart attack.
PACO
No. Twenty metres this side of that door. And mom, you'll fuss over him something terrible. Remember, your screams have to be audible inside that compound.
PACO's FATHER
(Drily.)
Who knows, at this rate I might be having a real heart attack.
FADE OUT
INT. PACO's LIVING ROOM - LONG SHOT - DAY
The Woodcarver is dressed in dark blue denims, a thick, dark jacket, dark socks. He examines the sole of the trainer he is about to put on; we see it is dark too.
WOODCARVER
Good. I don't want to stand out against the night sky.
On the couch lie his discarded, lighter-coloured clothes. He reaches inside a jacket pocket and pulls out a photograph. Jerry notices this.
JERRY
Can I see?
JERRY's FATHER
Jerry! You mind your own-
WOODCARVER
It's all right, Mr. Parody. It's no state secret.
Jerry comes round to look at the photograph.
JERRY
Wah wah wah!
Quickly the others crowd around.
CLOSE-UP OF PHOTOGRAPH
We see the picture of Yatri which the Woodcarver used as a model for the marionette Yin-Yin.
JERRY
Your... girlfriend?
ANOTHER ANGLE
WOODCARVER
(Speaking from another space.)
Someone very special in my life. She pulled me out of the abyss once. It feels good to have her with me on this jump.
RIPPLE DISSOLVE AS HE TALKS
INT. YATRI's DEN IN HEIDELBERG - MEDIUM SHOT - DAY
The room has the same flavour as the attic in Amsterdam once had. She sits typing on a laptop. In front of her, on a low coffee table covered with an oriental rug, stands a crystal ball. She is absorbed in what she is doing.
RIPPLE DISSOLVE
INT. PACO's LIVING ROOM - MEDIUM SHOT - DAY
The Woodcarver places the photograph carefully in an inside pocket of his dark jacket.
PACO
(Awkwardly.)
Right. Shall we go over a couple of things? I'd love you to stay on after the rescue, but I think it would be madness. You've got to get across that border with your camper before they realise the puppets are gone. And not just that. I'd like you to be on the other side of the Pyrannees in record time. Jim will land the puppets here in Gibraltar. With such a fragile cargo he does not want to land them in La Linea. They'll be taken by one of his, ah, business associates, by boat, to a contact on the coast beyond La Linea. From that point on they're officially oranges being exported to northern Europe.
Paco hands the Woodcarver a piece of paper.
PACO
(Continuing.)
You'll go via Zaragoza towards Pau on the French side, and here is the exact spot where you'll meet the orange truck. And there's the time and date too. But we'll all be in touch by phone to sort out any possible hitches, though I don't expect any. Jim is a top... businessman.
Paco looks about the room.
PACO
(Continuing.)
Anyone got any questions? (Pause.) Then we'd better get moving. It's going to be a long night.
FADE OUT
EXT. TOP OF ROCK - LONG SHOT - NIGHT
Paco, Jerry and the Woodcarver stand in a circle. Paco talks into his mobile.
PACO
Right. Good. What? (Pause.) It's fine. A light breeze. We'll be launching then. Bye. (Addresses Woodcarver.) The commercial flight's on schedule. Landing in twenty minutes. Ready?
WOODCARVER
(Breathes deeply.)
Ready.
The Woodcarver slings the rig onto his back, the canopy overflowing from the container. As he buckles the harness round his thighs and chest, Paco and Jerry carefully pull the canopy from the container and spread out behind him.
WOODCARVER
Try not to drag it over the ground. I don't want it tearing.
The brothers now insert their carbon fibre rods into the cups on the outer cells of the canopy. We hear a HEARTBEAT, faint at first but growing in intensity. The last two verses of the SONG "The Rock" fade in, to the same beat as the heart.
EXT. LARGE VAN AT FOOT OF NORTH FACE - MEDIUM SHOT - NIGHT
Jim is peering up from the driver's window.
JIM's POINT OF VIEW
Once again we see that daunting white North Face.
EXT. LARGE VAN - LONG SHOT - NIGHT
The van drives off.
EXT. TOP OF ROCK - LONG SHOT - NIGHT
The canopy is inflating nicely.
CLOSE-UP OF WOODCARVER
His face is drawn, tense. He rolls his eyes.
INT. YATRI's DEN - MEDIUM SHOT - NIGHT
She looks up suddenly from her laptop, a puzzled expression crossing her face. Then she shifts her gaze.
YATRI's POINT OF VIEW
We see the crystal ball.
ANOTHER ANGLE
Yatri shakes her head and returns to her typing.
EXT. TOP OF ROCK - LONG SHOT - NIGHT
Full frontal view of the Woodcarver with the canopy billowing behind him, Paco and Jerry at each corner with their poles, helping the canopy stay aloft.
WOODCARVER
(Shouting.)
Are you ready!
PACO and JERRY
Ready!
EXTREME CLOSE-UP OF WOODCARVER's FACE
WOODCARVER
(Screaming courage into himself.)
Goooooo!!!
CLOSE-UP OF HIS FEET
They gather speed on the short decline to the cliff edge. Then the toe of one trainer catches on a protruding rock.
INT. YATRI's DEN - MEDIUM SHOT - NIGHT
She jerks up from her laptop, stricken with fear.
ANOTHER ANGLE
The CAMERA does a lightning zoom into the crystal ball, where the picture FADES IN of the Woodcarver, side on, LONG SHOT, stumbling forward and falling over the edge of the cliff, the inflated canopy behind.
ANOTHER ANGLE
From the base of the North Face we look up and see way in the distance the Woodcarver coming into view over the edge.
MEDIUM SHOT OF WOODCARVER - FRONT VIEW
His body jerks in the harness and we hear the CRACK as the cells fully inflate to take his weight.
INT. YATRI's DEN - MEDIUM SHOT - NIGHT
Yatri lets out a long breath, eases back in her chair, looks into the middle distance, and a light smile crosses her face as she shakes her head slowly.
EXT. TOP OF ROCK - CLOSE-UP - NIGHT
Paco is trembling so much he can hardly hold his mobile.
PACO
J- Jim? It's- it's- It's okay. He's flying. Thank god!
EXT. AERIAL VIEW - LONG SHOT - NIGHT
The Woodcarver's canopy is seen from above, gliding smoothly over Gibraltar, making its way diagonally across the airport's runway.
CLOSE-UP OF WOODCARVER
His mouth is open as he gulps the air, recovering from the near disaster.
EXT. AERIAL VIEW OF CUSTOMS COMPOUND - LONG SHOT - NIGHT
The compound grows bigger as the Woodcarver approaches. The perimeter fence is faintly lit, but the compound itself is in near darkness.
EXT. WORM's-EYE-VIEW OF WOODCARVER
He is seen working the toggles to steer the canopy.
INT. JIM's VAN - MEDIUM SHOT - NIGHT
Jim's ASSISTANT holds aloft the large model helicopter. The rotors are not engaged, but the motor is running. Jim holds the radio controls, and revs the engine. On his forehead rest a pair of night-vision goggles. The revs drop to idling, and Jim opens the large door at the rear of the van. He disembarks, followed by his assistant.
ANOTHER ANGLE
We see the van parked on a vacant lot in what appears to be a deserted industrial area.
CLOSE-UP OF JIM
He pulls the goggles over his eyes, adjusts them, then looks into the distance.
JIM's POINT OF VIEW
In the distance we see the customs compound.
ANOTHER ANGLE
Jim's assistant places the helicopter on the ground and steps back. Slowly the blades start to rotate. He pulls a mobile 'phone from a pocket.
EXT. WOODCARVER - MEDIUM SHOT - NIGHT
We see him from below.
WOODCARVER
Too damn high!
He pulls on the left toggle.
AERIAL VIEW OF CANOPY
It swings sharply to the left, then after a few seconds swings to the right to do a U-turn, then after another few seconds turns 90 degrees to the left, on course again for the compound which is very close now. We see a few cars moving into the customs post, which itself is under cover.
CLOSE-UP OF WOODCARVER
His face registers intense concentration as he comes in for the landing.
ANOTHER ANGLE
We see a LONG SHOT, side on, of the canopy approaching the compound. It appears the Woodcarver is too low.
CLOSE-UP OF WOODCARVER's FACE
WOODCARVER
Oh damn!
He braces himself for the impact.
LONG SHOT SIDE ON
We see the Woodcarver drawing his knees up to his chest.
CLOSE-UP OF TOP OF COMPOUND WALL
The Woodcarver's trainers disturb the dust on top of the wall as they only just clear it.
EXT. FAR END OF COMPOUND - LONG SHOT - NIGHT
The Woodcarver under canopy approaches, a few metres off the ground. He is closing fast. Then abruptly both arms come down, toggles in hand, to activate the breaks. The canopy stalls and the Woodcarver floats gently to earth.
ANOTHER ANGLE
The Woodcarver pulls in the lines to collapse the canopy, and quickly gathers the material. He unbuckles the harness, swings it off his back and onto the ground, and stuffs the canopy into the container very fast. He swings this over one shoulder and heads for the shed against the perimeter fence. He enters through the doorless opening.
INT. CUSTOMS SHED - MEDIUM SHOT - NIGHT
The Woodcarver enters, stops, then peers into the darkness. He pulls a small flashlight from a pocket and shines this along shelves. At last the light reflects off a pair of eyes. It is His Royal Highness, King Sigurd!
WOODCARVER
Thank the heavens! You're safe. You're safe. Oh my beautiful little ones...
The beam of light from the torch picks out various other puppets, and the Woodcarver keeps uttering sweet nothings.
CLOSE-UP OF WOODCARVER
He pulls a mobile from a pocket.
EXT. VACANT LOT - MEDIUM SHOT - NIGHT
Jim's assistant is seen speaking into his mobile. He says something to Jim, who keeps looking into the distance and working the joysticks.
INT. CUSTOMS SHED - MEDIUM SHOT - NIGHT
The Woodcarver has a large net spread out on the ground. He places his parachute in the middle, then spreads a sheet next to it. Into this he lays the puppets one by one, as quickly as he can without being rough. He closes the sheet, lays it on top of the parachute, and brings together the four corners of the net, hooking them into a carabiner. Suddenly he becomes attentive, as if hearing something.
EXT. AIRPORT RUNWAY - LONG SHOT - NIGHT
A large commercial jetliner is just touching down. As it races past us, we hear the DEAFENING SOUND OF THE REVERSE THRUST of the engines.
EXT. CUSTOMS COMPOUND - LONG SHOT - NIGHT
The Woodcarver crouches beside the shed, speaking into his mobile. We do not hear him, only the sound of the JET ENGINES. He is looking up.
WOODCARVER's POINT OF VIEW.
The model helicopter hovers several metres above ground. The winch cable snakes downwards.
ANOTHER ANGLE
The Woodcarver hooks up the net, pulls his mobile from his top pocket, mouths into it, and we see the net beginning to rise.
CLOSE-UP OF WOODCARVER
WOODCARVER
Safe journey. My little ones.
EXT. AIRPORT TERMINAL - LONG SHOT - NIGHT
The commercial jet is approaching the terminal, the engines still WHINING. It stops, and the whining SUBSIDES.
EXT. SPANISH CUSTOMS POST - LONG SHOT - NIGHT
From the Gibraltar side of the border post, we see a few cars in line at the Spanish side. The customs and immigration officials are going about their business. We also see an old couple making their way towards the Spanish side, pedestrians wanting to cross the border. We see quite clearly, too, the closed door in the brick wall next to the customs office - the one leading to the compound. Suddenly the old man collapses, sinking to his knees and then falling over to lie prone. The old woman starts screaming hysterically. All eyes are now focussed on them. The Spanish officials stand staring for a few seconds while this all sinks in. From the Gibraltar side a police bobby comes running to the aid of the old man. Behind the Spanish customs men we see the door in the brick wall open, and the Woodcarver emerges. He starts running towards the old man, whom he reaches at the same moment as the bobby. The bobby examines the stricken man. Just then another BOBBY arrives with a rolled up stretcher. They lay this out on the ground, and the Woodcarver and one of the bobbies lift the old man onto it. The Woodcarver is quick to take up his position at one end of the stretcher, and, with one of the bobbies, takes the old man to a first-aid post on the Gibraltar side.
FADE OUT
EXT. THE PYRANNEES - AERIAL SHOT - DAY
The mountains are covered in snow. The few buildings of a hamlet can just be distinguished under the snow blanket. A hundred metres beyond them the red colour of Violetta, drawn over to the side of the road, stands out like a sore thumb. We hear the SONG "Optique".
INT./EXT. VIOLETTA - CLOSE-UP - DAY
From within the cab we see the side mirror. All that is reflected is the empty road. The Woodcarver's hand reaches out and claps the mirror closed, flush with the side of the vehicle. Then the hand claps it open again.
CLOSE-UP OF WOODCARVER
He smiles a little wry smile, remembering.....
EXT. THE PYRANNEES - AERIAL SHOT - DAY
A large truck climbs the last hundred metres to the top of the pass, then begins the descent. It slows and pulls up in front of Violetta. A man jumps down from the cab, waves to the Woodcarver who is also disembarking, then undoes the corner of the canvass covering the tail end of his truck. He climbs aboard, disappears, then reappears to pass the net with parachute and puppets to the waiting Woodcarver.
INT. VIOLETTA - MEDIUM SHOT - DAY
The marionettes and other puppets are all hanging or standing in their usual places. The Woodcarver is brewing tea on the cooker.
MAQINA
...And I wasn't scared at all-
MISS QUOTE
(Sceptically.)
Humpf!
WOODCARVER
From the world's champion arm wrestler, I would not have expected anything less.
MAQINA
Wanna have a go now?
WOODCARVER
Eh, not now.
MAQINA
You're scared.
WOODCARVER
Terrified.
SMOTHER
No arm wrestling without written permission from the Minister of Sport - in quintiplicate - and that's final!
RANK and FILE
Yes sir, no sir-
MISS QUOTE
(Singing huskily.)
I wanna be evil...I wanna be bad.
YIN-YIN
Bitch.
MISS QUOTE
Witch!
KING SIGURD
Now now, girls...
JEAN-PHILIPPE
I have to write a column on all this, so I would like to know, sil vous plait, what it is we're doing, exactema.
CASE
His Majesty here is the new Pied Piper - with a difference.
JEAN-PHILIPPE
That being?
YIN-YIN
Why, we will not lead little children to their death. Quite the opposite. We will resurrect the child in everyone.
EVERYONE
Yeah!
VICTIMUS ULTIMUS
(Winging.)And for how long am I to do this thankless task? Am I to work my fingers to the bone, to sacrifice my youth....? How long, pray?
KING SIGURD
Shall we say, till Mr. Smother here has learnt to dance-
MAQINA
That long!
KING SIGURD
-And Victimus Ultimus has found his inner king-
GALL
(Drily.)Okay, so now we know how long eternity is!
WOODCARVER
And now we will celebrate your homecoming with a double Rooibos tea all round. Fortify yourselves, my hearties, for we must go-
EVERYONE
-"On on on on on, once more unto the breach".
FADE OUT
EXT. VIOLETTA - AERIAL SHOT - DAY
Violetta pulls onto the road and starts to make her way down the pass into France.
FADE OUT
EXT. VIOLETTA OUTSIDE JOHANNA's HOUSE IN AMSTERDAM - LONG SHOT - DAY
INT. VIOLETTA - MEDIUM SHOT - DAY
The Woodcarver and Johanna sit drinking tea. Johanna suddenly remembers something, picks up a parcel and hands it to him.
JOHANNA
Oh, and this came for you. From Heidelberg.
He unwraps the parcel. It is a book.
CLOSE-UP OF BOOK
We see the title. It reads: "You are the Miracle". Below that a sub-head: "The paranormal is normal." By Dr. Yatri von Bingham.
ANOTHER ANGLE
The Woodcarver shakes his head slowly, in admiration, then turns his head to look in the direction where the Magic Mirror is hanging.
CLOSE-UP OF MIRROR
Inside the mirror, FADE IN view of Yatri in a bookstore, sitting at a table signing copies of her book for customers who are queuing. As the CAMERA PULLS BACK the thermos flask comes into view on the edge of the table, as does a crystal ball. Yatri turns to peer into the ball.
YATRI's POINT OF VIEW
We see the crystal ball. ZOOM INTO crystal ball, and now FADE IN view of Leidseplein, which grows and grows until it fills the frame.
EXT. LEIDSEPLEIN - LONG SHOT - DAY
It is spring and the square is packed. From a BIRD's-EYE-VIEW, the camera drops down to knee height and works its way through the legs of the crowd, till it has an unimpeded view of the "stage" where the main acts are taking place. The unicyclist-cum-juggler of earlier scenes catches his three fire-sticks, rides back and forth shaking hands and acknowledging the applause. The CAMERA follows him as he rides off to the right and dismounts. The CAMERA swings back slowly as we hear the dramatic ROLL OF DRUMS. As the CAMERA swings back to "centre stage" it has ZOOMED IN so that we now see only legs, legs and more legs. The CAMERA stops and we now have a CLOSE-UP of the Woodcarver's boots with red shoelaces. The camera PULLS BACK and moves upwards. We gradually see more and more of the Woodcarver. His cape is drawn closed in front. His head is down, so we see the top of the top hat. Slowly, as the roll of drums grows LOUDER, he lifts his head and we see his eyes - confident eyes - looking straight into the lens. There is a LOUD CRASHING OF CYMBALS and the cape flies open. King Sigurd is suspended from the Woodcarver's neck, at the height of the Woodcarver's chest, by a specially knotted cord. Adroitly he pulls a pin from the cord, and as it unwinds King Sigurd drops neatly to the ground. In the same movement, the Woodcarver's skilled hands start working the controls, and His Majesty dances and waves and jumps into the arms - and hearts - of the applauding crowd. (We note he has a slight preference for the girls.) The SONG "Walkabout in Paradise" has faded in. When we hear the words "another shitty day in paradise" the Woodcarver turns his head to look up at the window of his old newsroom.
EXT. WINDOW - MEDIUM SHOT - DAY
Rick is standing at the window, looking for all the world like the forlorn Sigurd of earlier times. He stares down, vacantly, into the square. An older man, the white-haired editor, comes up behind him, puts an arm around his shoulder, says something, and pulls Rick gently along with him. They move out of view.
EXT. LEIDSEPLEIN - MEDIUM SHOT - DAY
The SONG has reached the last verse. The Woodcarver sings.
WOODCARVER
Said the King, who is very wise...
The Woodcarver drops to one knee.
CLOSE-UP
The Woodcarver's face is close to that of King Sigurd, as the king now takes over the song.
KING SIGURD
...When will we realise, all you have to do is open your eyes, to see that we are in paradise.
EXT. LEIDSEPLEIN - LONG SHOT - DAY
The Woodcarver and King Sigurd bow to the applause. Coins fly into the "centabakje", reward for the bold and the brave. The Woodcarver reaches over to a stand behind the Castle, brings it forward, and turns it so we see a picture frame with, in it, the text of the chorus of the next song, "Journey to Nowhere".
CLOSE-UP
The Woodcarver and King Sigurd sing the first verse.
WOODCARVER
Where are we going?
KING SIGURD
How much the fare?
WOODCARVER
Give a call driver...
KING SIGURD
...When we get there.
WOODCARVER
The goal is the going
KING SIGURD
So don't have a care
WOODCARVER
We're all on a journey
KING SIGURD
Going nowhere.
EXT. LEIDSEPLEIN - LONG SHOT - DAY
The Woodcarver points to the text, and the crowd start to sing along.
CROWD
We are moving, on a Journey to Nowhere, taking it easy, taking it slow. There is no hurry, not even a worry, nothing to carry, let it all go.
As the crowd repeat the chorus, the CAMERA slowly PULLS BACK and RISES, giving a panoramic view of the famous Amsterdam square.
FADE TO BLACK
The silhouettes of the Woodcarver and the King fill the frame, then gradually white space appears on the left as the silhouettes get smaller. They are walking. The credits appear on the left, and as they proceed the silhouettes gradually become smaller and smaller, until they become just pinpoints... and disappear.
THE END
