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INT. KLIMT’S STUDIO, VIENNA. DAY. 1907

During the credits we watch the creation of a masterpiece:

GUSTAV KLIMT painting ADELE BLOCH-BAUER, his magnetic muse.

Klimt has a larger than life, sexual presence, and there is

something almost erotic about the way he paints his model,

which the sensual Adele is more than aware of. As his rough

hands apply gold-leaf to the canvas, Adele shuffles in her

seat. Klimt speaks in German -marked in italics, as it is

throughout the script.

KLIMT KLIMT (CONT’D)

Move to the left a little. Rück ein wenig nach links

She does so.

ADELE ADELE (CONT’D)

Like this? So? Oder so?

He walks up to her, touches her just beneath the shoulder,

adjusts the angle she is sitting at, then returns to his

canvas. As he moves away, she shuffles again.

KLIMT KLIMT (CONT’D)

You are restless today. Du bist unruhig heute.

ADELE ADELE (CONT’D)

I worry too much, you know Ich mache mir zu viele

that. Sorgen, das weisst du.

KLIMT KLIMT (CONT’D)

About what? Worüber?

ADELE ADELE (CONT’D)

The future. Die Zukunft.

EXT. ELIZABETHSTRASSE, VIENNA. DAY. 1938

The Bloch-Bauer residence on Elizabethstrasse. HEINRICH and

KLAUS, two soldiers in Nazi uniform, stand outside it and

start pounding loudly on the front doors. Standing behind

them in civilian clothes is the Gestapo agent, FELIX LANDAU.

HEINRICH HEINRICH (CONT’D)

Open the door! Öffnen Sie die Tür!

EXT. LOS ANGELES STREET. DAY.

Superimposed caption : LOS ANGELES, 1999

A car drives down a Los Angeles street and passes by a small

knitwear boutique - this little shop looks very European,

small and quaint - quite incongruous in the West Hollywood

surroundings.

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