
Woman in Gold
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!
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.
INT. MARIA’S BOUTIQUE. DAY.
The phone is ringing in Maria’s knitwear boutique, as MARIA
is handing a purple cardigan over to a customer. Maria is an
elderly, beautiful woman who oozes old world charm and
elegance. Behind her chic ensembles and delicate manner
however there is a fair amount of steel as well as an
anarchic streak. Her customer is LIZBET, another elderly
woman of European provenance.
MARIA:
When I saw this one I decided it
had your name on it.
Lizbet tries on the cardigan.
MARIA (CONT’D)
Purple is definitely your colour. I
don’t know why it’s taken you sixty
years to discover it.
The phone keeps ringing; Maria excuses herself with a smile
and answers it.
MARIA (ON THE PHONE) (CONT’D)
Hello? Yes, my dear, it is. I see.
Yes, of course. Thank you for
letting me know.
She puts down the receiver. And in her face we see that she
has just received some life-changing news. Lizbet notices.
LIZBET:
Are you alright Maria?
And when Maria utters her sister’s name, it is to herself.
MARIA:
Luise.
EXT. A CEMETERY. DAY.
A Jewish cemetery on a sunny afternoon, an oasis of calm
against the Los Angeles skyline. People huddled around
LUISE’S coffin as Maria makes a short speech. She looks
dignified in an unostentatious suit.
MARIA:
My sister and I loved each other
but the truth is that we were
always competing. If life is a
race, then she has beaten me to the
finishing line. But if it is a
boxing match, then I’m the last one
standing.
A ripple of laughter from those who knew them both. With a
spade, Maria throws some earth into the grave. And when she
speaks again, it is quietly, looking down at her sister’s
coffin.
MARIA (CONT’D)
Either way, we went through a lot
together, and I will miss you. Auf
wiedersehen, Liebe Schwester.
EXT. A CEMETERY. DAY. LATER
As the mourners make their way to the waiting limos in the
late afternoon sun, Maria is accompanied by BARBARA
SCHOENBERG, an old family friend. Barbara is in her sixties;
an academic who is intelligent and warm.
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"Woman in Gold" Scripts.com. STANDS4 LLC, 2021. Web. 25 Feb. 2021. <https://www.scripts.com/script/woman_in_gold_41>.