The Word Cloud

Some of you might remember I was working on a screenplay about the Russian poet Alexander Pushkin last year. I've now started to re-write it, after having got various bits of feed-back. If anyone would be kind enough to have a look at the section below, and provide comments, I'd be very grateful.

EXT. A BIRCH FOREST IN CENTRAL RUSSIA, 1826. A SUMMER EVENING, FADING LIGHT

ALEXANDER PUSHKIN, late 20s, long, tousled hair, bearded, is returning to his ancestral home after a day's hunting. He carries two hares and is accompanied by a borzoi. A magnificent she-wolf appears on the path ahead of him. Pushkin stops dead. The borzoi whimpers and falls back. The she-wolf growls, bares her fangs. Pushkin takes his hunting rifle from his shoulder, takes aim and cocks the gun. Two cubs scamper onto the path behind their mother. She growls again and takes a step towards Pushkin. He stands his ground, unafraid, then points the gun up at the trees and fires. At the sound of gunshot, the wolves disappear into the forest. Pushkin and borzoi continue on their way.

INT. PUSHKIN'S BEDROOM - THE FOLLOWING MORNING

Pushkin sits cross-legged on the bed composing poetry, amid a chaos of books and papers. The Borzoi lies across the bottom of the bed, dreaming. Pushkin beats an iambic rhythm on his thigh.

PUSHKIN

(Under his breath)

Many we were aboard the boat, Some pulled tight the rope. Rope? Sail. Yes. Some pulled tight the sail, while others... Others plunged oars into the deep... and heaved together...

The borzoi gets up, pads to the door, whines.

PUSHKIN (CONT’D)

So that’s your considered view, is it? I see.

The dog whines again.

PUSHKIN (CONT’D)

Very well, you cloth-eared mutt, I’m coming.

Pushkin slides off the bed and lets the dog out, then ambles to the window, yawns and stretches. He notices A UNIFORMED COURIER galloping towards the house from across the valley. He watches, mystified.

INT. PUSHKIN’S STUDY - THAT AFTERNOON

Pushkin, dressed for a journey, is packing his manuscripts into a leather satchel. Once finished, he pauses for a moment in valediction, then heaves the precious satchel onto his shoulder, turns resolutely and exits.

EXT. THE FRONT YARD OF THE HOUSE - CONTINUOUS

The courier, already mounted on his horse, waits in the shade. Pushkin strides out and climbs nimbly onto a waiting cart, which is stands ready and loaded with trunks. He nods to the courier, who sets off, followed by the cart.

PUSHKIN (V.O.)

Many we were aboard the boat,

Some pulled tight the sail, while others

Plunged oars in the deep and heaved together.

T’was our wise captain who kept us afloat

Bent in calm silence over the wheel,

He steered the heavily laden skiff

While I, full of careless faith

I sang to the sailors. All at once from beneath

A roaring vortex whipped up the sea.

Captain and crew - all were lost

Only I, the mysterious singer, was tossed

Out of the ocean and onto the shore.

I sing my songs as I did before,

And lay wet clothes in the sun to dry

Spread out on a rock beneath the sky.

INT. THE TEREM PALACE - THREE DAYS LATER

Pushkin and the courier have arrived directly at the Terem Palace in the Moscow Kremlin, where they've been summoned by the new Tsar, NICHOLAS I. Pushkin is met by COUNT BENCKENDORFF, the Tsar's chief minister.

BENCKENDORFF

He wants to see you at once. Follow me.

Benckendorff sets off, signalling for Pushkin to follow. He leads him through ornate halls and corridors, until they reach the door to Nicholas's private apartment.

BENCKENDORFF (CONT’D)

Wait here.

Benckendorff knocks on the door and when it is opened by a FOOTMAN, enters, leaving Pushkin alone. Pushkin catches sight of himself in a mirror, his clothing and face still dusty from the road. He hastily wipes his face with a handkerchief. The footman re-opens the door.

FOOTMAN

The Tsar will see you now.

INT. A LARGE RECEPTION ROOM - CONTINUOUS.

Nicholas is being fitted for his coronation robes. Benckendorff leaves as Pushkin enters.

PUSHKIN

(Bowing low)

Your Majesty.

NICHOLAS

So you’re Alexander Pushkin. Come in - here where I can see you. I confess I was curious to meet the man whose verses every soldier in my army can recite by heart, whose every word is debated across dining tables the length and breadth of the country.

ALEXANDER

You flatter me, sir.

NICHOLAS

Please, no false modesty.

PUSHKIN

Sir.

NICHOLAS

I’ve brought you here because I’ve decided to pardon you.

ALEXANDER

Pardon me? Does that mean I’m to be released from exile?

NICHOLAS

Precisely.

ALEXANDER

Sir, I, I... Thank you! Thank you.

NICHOLAS

Of course you should understand that with freedom come responsibilities.

ALEXANDER

Of course, your Majesty.

NICHOLAS

I want your solemn promise you won’t use your knack for words to sow discord or stir up strife among my people.

ALEXANDER

Sir, I’ve never sought to cause trouble.

NICHOLAS

Nevertheless, all too often, that has been the effect. From now on, I want you to put your talent at the service of Russia, give us literature we can be proud of.

Beat.

ALEXANDER

Sir, I am happy to go where you command, live as you command, serve you in any way it pleases you, but I can only write as my heart and soul dictate. I... I cannot write to order.

NICHOLAS

I’m not asking you to write to order as such, merely to avoid those subjects you know will cause offence.

ALEXANDER

Does this mean I’ll be allowed to publish my work?

NICHOLAS

That will depend on you. You may submit your manuscripts to me, and if I’m satisfied they’ll do no harm, you may publish them.

ALEXANDER

You’ll read them yourself?

NICHOLAS

Yes.

ALEXANDER

Sir, I don’t know what to say. You do me too much honour.

NICHOLAS

Perhaps. I trust you won’t let me down, Monsieur Pushkin.

PUSHKIN

I won’t, sir.

NICHOLAS

Very well. You’re free to go.

INT. VYAZEMSKYS’ HOUSE, ENTRANCE HALL - LATER

Pushkin has arrived at the house of his friends, PETYA and VERA VYAZEMSKY. After a moment, Vera appears.

VERA

Good evening, sir. Can I help you in some way?

PUSHKIN

(Interrupting)

Vera, it’s me.

VERA

Oh! Oh my God - Alexander! I didn’t... Petya! Petya, come quickly. Alexander’s here!

Petya Vyazemsky arrives and seeing Pushkin, embraces him warmly. An emotional moment.

PETYA

You’re staying here. No arguments. Vera, tell Stepan to light the fire in the bath-house.

INT. VYAZEMSKYS’ HOUSE, DINING ROOM - THAT EVENING

Pushkin’s satchel lies empty, the table is littered with manuscripts. Vyazemsky is reading with clear pleasure. Pushkin, who has washed and shaved, sits back, savouring a large brandy and enjoying Vyazemsky’s reaction to his work.

INT. VYAZEMSKYS’ HOUSE, PUSHKIN’S BEDROOM - NEXT MORNING

Pushkin awakes early, slowly remembers where he is. He climbs out of bed and opens the shutters and window to be met by a view of Moscow roof-tops, church towers, the sound of bells. His heart fills with hope.

INT. VYAZEMSKYS’ HOUSE, DRAWING ROOM - EVENING

Pushkin waits in a small drawing room. A larger salon, full of guests, can be glimpsed through a slightly open door. He nervously adjusts a handkerchief in his breast pocket, then loses patience and stuffs it in his trouser pocket instead. Vyazemsky enters.

VYAZEMSKY

Ready?

(Beat)

Are you all right?

PUSHKIN

I think so. I’ve become unused to society, that’s all.

Vera enters from the salon and takes Pushkin by the arm.

VERA

Come on. Everyone’s waiting.

Vera ushers Pushkin out into the salon. Guests surge forward. Some clap Pushkin on the back, others shake his hand. Everyone wants a piece of him. Vera leads him forward. He’s clearly moved, almost to the point of tears.

PUSHKIN

Please, enough! Enough.

VERA

Here he is at last - our poet, Alexander Pushkin!

GUEST ONE

Speech!

PUSHKIN

Please, no speeches!

GUEST TWO

Sir, how does it feel to be back in Moscow?

PUSHKIN

Good. Thank you.

GUEST TWO

Have you written much since you went away?

PUSHKIN

I’ve written one or two things I hope might please the public. Some verses, a few stories, and a play set during the Time of Troubles.

GUEST ONE

Will you read to us?

VYAZEMSKY

Oh yes, Sasha, you must.

PUSHKIN

Very well. After supper.

INT. VYAZEMSKYS’ HOUSE, THE SALON - LATER

Some guests are seated, others watch from the side of the room. In contrast to most, one of the guests, FADDEY BULGARIN, Benckendorff’s spy, is less impressed. He keeps unobtrusively to the shadows. Pushkin steps forward with the manuscript of Boris Godunov in his hand. An expectant hush.

PUSHKIN

The play opens in 1598. The Tsar is dead. Moscow is seething with every sort of conspiracy. Boris Godunov, the kingmaker, has retreated to a monastery where he prays for a sign from God. In the Kremlin, disgruntled boyars gather to hatch a dozen treasonous plots. Here is the wily Vorotinsky, and with him, Shuisky, ruthless and cruel...

INT. THE KREMLIN, NICHOLAS’S CHAMBER - CONTINUOUS

Nicholas is in conference with Benckendorff.

BENCKENDORFF

Will that be all, your majesty?

NICHOLAS

Just one further matter. I’d like you to keep an eye on Pushkin. Make sure he doesn’t get up to his old tricks.

BENCKENDORFF

You can put your mind at rest, sir. I’ve already attended to it.

INT. VYAZEMSKYS’ HOUSE, LARGE SALON - CONTINUOUS

Pushkin continues to read with growing animation.

PUSHKIN

Now here’s Boris. Unloved, haunted by the murder of the Tsarevich, the crown has brought him only bitterness and regret...

Bulgarin in the shadows gives a slight frown. He watches as Pushkin continues reading.

PUSHKIN (CONT’D)

... Suddenly the boy pulls out a dagger, leaps towards the window and escapes into the forest...

DISSOLVE TO:

PUSHKIN (CONT’D)

... as a last resort, he reveals the secret of his identity, but Marina is unmoved. Consumed by icy ambition, she threatens to betray him...

Bulgarin slips outs unnoticed. The rest of the audience is enraptured.

PUSHKIN (CONT’D)

... with Boris dead, Dmitry’s supporters storm the Kremlin. Trapped within, the young prince and princess take their own lives. The Pretender enters the city in triumph - and is met by silence as the people watch in horror.

A pause. Pushkin, completely absorbed in the reading, is half surprised to be met with enthusiastic applause.

INT. GOLITSYN MANSION - MORNING

Pushkin waits in a wide, colonnaded corridor, hat in hand. In the ball-room across the corridor, a dance class is taking place. A piano can be heard and the shuffle and thud of the dancers and the voice of DANCE-MASTER instructing a dozen or so young ladies.

DANCE-MASTER (O.S.)

... two, three, four. That’s it, girls, three, two, three four, and turn. Now to the left. I said left, Sonya! Left.

Pushkin is approached by Benckendorff’s CHAMBERLAIN.

CHAMBERLAIN

I’m afraid His Excellency is still engaged.

PUSHKIN

It’s all right. I’ll wait.

CHAMBERLAIN

As you wish, sir.

The chamberlain disappears. Pushkin moves to where he can watch the dance class through the open door to the ball-room.

DANCE-MASTER

Slide, leap... and turn. Girls, watch Natasha. Follow her. At least she knows what she’s doing.

Pushkin notices the girl in question, NATASHA GONCHAROV. As she performs the dance with perfect grace, he finds he can’t take his eyes off her. She soon senses him watching and her movements become slightly self consciousness. At length, the dance-master notices Pushkin.

DANCE-MASTER (CONT’D)

You have some business here, sir? Perhaps you’d care to demonstrate the steps?

The girls titter.

PUSHKIN

(Retreating)

Forgive me.

Benckendorff’s chamberlain appears.

CHAMBERLAIN

Is Monsieur Pushkin here? His Excellency is ready now.

NATASHA

Pushkin - as in the poet?

PUSHKIN

(With a slight bow)

At your service, Mademoiselle.

Pushkin follows the chamberlain out of the ball-room. Natasha watches him intrigued. At the last minute, Pushkin looks back and catches her eye. She looks down with a tiny smile.

INT. GOLITSYN MANSION, BENCKENDORFF’S STUDY- A LITTLE LATER

Benckendorff is sitting at his desk leafing through Pushkin’s manuscript for Boris Godunov.

BENCKENDORFF

You really think this is a proper subject to put before the public?

PUSHKIN

I wouldn’t have written it otherwise.

BENCKENDORFF

I merely put the question - is it seemly to show how the throne was usurped by a murderer?

PUSHKIN

Boris Godunov paved the way for the accession of the Romanovs.

BENCKENDORFF

Whom you barely mention... Monsieur, you should not have read the play in public without permission.

PUSHKIN

(Taken aback)

I.. I didn’t read it in public. Some of my friends asked me to read it, that’s all. It was a private gathering.

BENCKENDORFF

I understand it got quite a reception.

PUSHKIN

Sir, will you, or will you not submit it to the Tsar?

BENCKENDORFF

As it happens he himself has asked to read it. You may go now.

PUSHKIN

You’ll let me know when I can publish it?

BENCKENDORFF

If you can publish it. Now if you’ll excuse me, I have other, and I might say, more pressing matters to deal with.

Hi Vero, I really liked your script.

The passive voice crept in a few times but should be avoided.

E.g. is returning should be changed to returns.
Some other points I have highlighted, too.
RC


EXT. A BIRCH FOREST IN CENTRAL RUSSIA, 1826. A SUMMER EVENING, FADING LIGHT

ALEXANDER PUSHKIN, late 20s, long, tousled hair, bearded, is returning PASSIVE VOICE to his ancestral home after a day's hunting. He carries two hares and is accompanied by a borzoi. A magnificent she-wolf appears on the path ahead of him. Pushkin stops dead. The borzoi whimpers and falls back. The she-wolf growls, bares her fangs. Pushkin takes his hunting rifle from his shoulder, takes aim and cocks the gun. Two cubs scamper onto the path behind their mother. She growls again and takes a step towards Pushkin. He stands his ground, unafraid, then points the gun up at the trees and fires. At the sound of gunshot, the wolves disappear into the forest. Pushkin and borzoi continue on their way.

INT. PUSHKIN'S BEDROOM - THE FOLLOWING MORNING

Pushkin sits cross-legged on the bed composing poetry, amid a chaos of books and papers. The Borzoi lies across the bottom of the bed, dreaming. Pushkin beats an iambic rhythm on his thigh.

PUSHKIN

(Under his breath)

Many we were aboard the boat, Some pulled tight the rope. Rope? Sail. Yes. Some pulled tight the sail, while others... Others plunged oars into the deep... and heaved together...

The borzoi gets up, pads to the door, whines.

PUSHKIN (CONT’D)

So that’s your considered view, is it? I see.

The dog whines again.

PUSHKIN (CONT’D)

Very well, you cloth-eared mutt, I’m coming.

Pushkin slides off the bed and lets the dog out, then ambles to the window, yawns and stretches. He notices A UNIFORMED COURIER galloping towards the house from across the valley. He watches, mystified.

INT. PUSHKIN’S STUDY - THAT AFTERNOON

Pushkin, dressed for a journey, is packing his manuscripts into a leather satchel. Once finished, he pauses for a moment in valediction, then heaves the precious satchel onto his shoulder, turns resolutely and exits.

EXT. THE FRONT YARD OF THE HOUSE - CONTINUOUS

The courier, already mounted on his horse, waits in the shade. Pushkin strides out and climbs nimbly onto a waiting cart, which is stands ready and loaded with trunks. He nods to the courier, who sets off, followed by the cart.

PUSHKIN (V.O.) WHAT DO WE SEE WHILE THIS LONG SPEECH HAPPENS?

Many we were aboard the boat,

Some pulled tight the sail, while others

Plunged oars in the deep and heaved together.

T’was our wise captain who kept us afloat

Bent in calm silence over the wheel,

He steered the heavily laden skiff

While I, full of careless faith

I sang to the sailors. All at once from beneath

A roaring vortex whipped up the sea.

Captain and crew - all were lost

Only I, the mysterious singer, was tossed

Out of the ocean and onto the shore.

I sing my songs as I did before,

And lay wet clothes in the sun to dry

Spread out on a rock beneath the sky.

INT. THE TEREM PALACE - THREE DAYS LATER

Pushkin and the courier have arrived directly ??at the Terem Palace in the Moscow Kremlin, where they've been summoned by the new Tsar, Have to make this clear in dialogue because you can’t say it in action NICHOLAS I. Pushkin is met by COUNT BENCKENDORFF, the Tsar's chief minister.

BENCKENDORFF

He wants to see you at once. Follow me.

Benckendorff sets off, signalling for Pushkin to follow. He leads him through ornate halls and corridors, until they reach the door to Nicholas's private apartment.

BENCKENDORFF (CONT’D)

Wait here.

Benckendorff knocks on the door and when it is opened by a FOOTMAN,* enters, leaving Pushkin alone. Pushkin catches sight of himself in a mirror, his clothing and face still dusty from the road. He hastily wipes his face with a handkerchief. The footman re-opens the door.

* B knocks. A footman opens the door. B enters, leaving P alone.

FOOTMAN

The Tsar will see you now.

INT. A LARGE RECEPTION ROOM - CONTINUOUS.

Nicholas is being fitted for his coronation robes. Benckendorff leaves as Pushkin enters.

PUSHKIN

(Bowing low)

Your Majesty.

NICHOLAS

So you’re Alexander Pushkin. Come in - here where I can see you. I confess I was curious to meet the man whose verses every soldier in my army can recite by heart, whose every word is debated across dining tables the length and breadth of the country.

ALEXANDER

You flatter me, sir.

NICHOLAS

Please, no false modesty.

PUSHKIN

Sir.

NICHOLAS

I’ve brought you here because I’ve decided to pardon you.

ALEXANDER

Pardon me? Does that mean I’m to be released from exile?

NICHOLAS

Precisely.

ALEXANDER

Sir, I, I... Thank you! Thank you.

NICHOLAS

Of course you should understand that with freedom come responsibilities.

ALEXANDER

Of course, your Majesty.

NICHOLAS

I want your solemn promise you won’t use your knack for words to sow discord or stir up strife among my people.

ALEXANDER

Sir, I’ve never sought to cause trouble.

NICHOLAS

Nevertheless, all too often, that has been the effect. From now on, I want you to put your talent at the service of Russia, give us literature we can be proud of.

Beat.

ALEXANDER

Sir, I am happy to go where you command, live as you command, serve you in any way it pleases you, but I can only write as my heart and soul dictate. I... I cannot write to order.

NICHOLAS

I’m not asking you to write to order as such, merely to avoid those subjects you know will cause offence.

ALEXANDER

Does this mean I’ll be allowed to publish my work?

NICHOLAS

That will depend on you. You may submit your manuscripts to me, and if I’m satisfied they’ll do no harm, you may publish them.

ALEXANDER

You’ll read them yourself?

NICHOLAS

Yes.

ALEXANDER

Sir, I don’t know what to say. You do me too much honour.

NICHOLAS

Perhaps. I trust you won’t let me down, Monsieur Pushkin.

PUSHKIN

I won’t, sir.

NICHOLAS

Very well. You’re free to go.

INT. VYAZEMSKYS’ HOUSE, ENTRANCE HALL - LATER

Pushkin has arrived at the house of his friends, PETYA and VERA VYAZEMSKY. After a moment, Vera appears.

VERA

Good evening, sir. Can I help you in some way?

PUSHKIN

(Interrupting) Don’t use this word in parenthesis - show it with dashes in dialogue

Vera, it’s me.

VERA

Oh! Oh my God - Alexander! I didn’t... Petya! Petya, come quickly. Alexander’s here!

Petya Vyazemsky arrives and seeing Pushkin, embraces him warmly. An emotional moment. CUT Instead say: embraces him with great emotion

PETYA

You’re staying here. No arguments. Vera, tell Stepan to light the fire in the bath-house.

INT. VYAZEMSKYS’ HOUSE, DINING ROOM - THAT EVENING

Pushkin’s satchel lies empty, the table is littered with manuscripts. Vyazemsky is reading with clear pleasure. Pushkin, who has washed and shaved, sits back, savouring a large brandy and enjoying Vyazemsky’s reaction to his work.

INT. VYAZEMSKYS’ HOUSE, PUSHKIN’S BEDROOM - NEXT MORNING

Pushkin awakes early, slowly remembers where he is. He climbs out of bed and opens the shutters and window to be met by a view of Moscow roof-tops, church towers, the sound of bells. His heart fills with hope. Show in a way we can SEE.

INT. VYAZEMSKYS’ HOUSE, DRAWING ROOM - EVENING

Pushkin waits in a small drawing room. A larger salon, full of guests, can be glimpsed through a slightly open door. He nervously adjusts a handkerchief in his breast pocket, then loses patience and stuffs it in his trouser pocket instead. Vyazemsky enters.

VYAZEMSKY

Ready?

(Beat)

Are you all right?

PUSHKIN

I think so. I’ve become unused to society, that’s all.

Vera enters from the salon and takes Pushkin by the arm.

VERA

Come on. Everyone’s waiting.

Vera ushers Pushkin out into the salon. Guests surge forward. Some clap Pushkin on the back, others shake his hand. Everyone wants a piece of him. Vera leads him forward. He’s clearly moved, almost to the point of tears.

PUSHKIN

Please, enough! Enough.

VERA

Here he is at last - our poet, Alexander Pushkin!

GUEST ONE

Speech!

PUSHKIN

Please, no speeches!

GUEST TWO

Sir, how does it feel to be back in Moscow?

PUSHKIN

Good. Thank you.

GUEST TWO

Have you written much since you went away?

PUSHKIN

I’ve written one or two things I hope might please the public. Some verses, a few stories, and a play set during the Time of Troubles.

GUEST ONE

Will you read to us?

VYAZEMSKY

Oh yes, Sasha, you must.

PUSHKIN

Very well. After supper.

INT. VYAZEMSKYS’ HOUSE, THE SALON - LATER

Some guests are seated, others watch from the side of the room. In contrast to most, one of the guests, FADDEY BULGARIN, Benckendorff’s spy, CUT is less impressed. He keeps unobtrusively to the shadows. Pushkin steps forward with the manuscript of Boris Godunov in his hand. An expectant hush.

PUSHKIN

The play opens in 1598. The Tsar is dead. Moscow is seething with every sort of conspiracy. Boris Godunov, the kingmaker, has retreated to a monastery where he prays for a sign from God. In the Kremlin, disgruntled boyars gather to hatch a dozen treasonous plots. Here is the wily Vorotinsky, and with him, Shuisky, ruthless and cruel...

INT. THE KREMLIN, NICHOLAS’S CHAMBER - CONTINUOUS

Nicholas is in conference with Benckendorff.

BENCKENDORFF

Will that be all, your majesty?

NICHOLAS

Just one further matter. I’d like you to keep an eye on Pushkin. Make sure he doesn’t get up to his old tricks.

BENCKENDORFF

You can put your mind at rest, sir. I’ve already attended to it.

INT. VYAZEMSKYS’ HOUSE, LARGE SALON - CONTINUOUS

Pushkin continues to read with growing animation.

PUSHKIN

Now here’s Boris. Unloved, haunted by the murder of the Tsarevich, the crown has brought him only bitterness and regret...

Bulgarin in the shadows gives a slight frown. He watches as Pushkin continues reading.

PUSHKIN (CONT’D)

... Suddenly the boy pulls out a dagger, leaps towards the window and escapes into the forest...

DISSOLVE TO:

PUSHKIN (CONT’D)

... as a last resort, he reveals the secret of his identity, but Marina is unmoved. Consumed by icy ambition, she threatens to betray him...

Bulgarin slips outs unnoticed. The rest of the audience is enraptured.

PUSHKIN (CONT’D)

... with Boris dead, Dmitry’s supporters storm the Kremlin. Trapped within, the young prince and princess take their own lives. The Pretender enters the city in triumph - and is met by silence as the people watch in horror.

A pause. Pushkin, completely absorbed in the reading, is half surprised to be met with enthusiastic applause.

INT. GOLITSYN MANSION - MORNING

Pushkin waits in a wide, colonnaded corridor, hat in hand. In the ball-room across the corridor, a dance class is taking place. A piano can be heard and the shuffle and thud of the dancers and the voice of DANCE-MASTER instructing a dozen or so young ladies. CUT –you can’t HEAR how many ladies! Say when we can see them.

DANCE-MASTER (O.S.)

... two, three, four. That’s it, girls, three, two, three four, and turn. Now to the left. I said left, Sonya! Left.

Pushkin is approached by Benckendorff’s CHAMBERLAIN.

CHAMBERLAIN

I’m afraid His Excellency is still engaged.

PUSHKIN

It’s all right. I’ll wait.

CHAMBERLAIN

As you wish, sir.

The chamberlain disappears. Pushkin moves to where he can watch the dance class through the open door to the ball-room. This is where you mention the dozen young ladies

DANCE-MASTER

Slide, leap... and turn. Girls, watch Natasha. Follow her. At least she knows what she’s doing.

Pushkin notices the girl in question, NATASHA GONCHAROV. As she performs the dance with perfect grace, he finds he can’t take his eyes off her. She soon CUT senses him watching and her movements become slightly self consciousness. TYPO. At length, the dance-master notices Pushkin.

DANCE-MASTER (CONT’D)

You have some business here, sir? Perhaps you’d care to demonstrate the steps?

The girls titter.

PUSHKIN

(Retreating)

Forgive me.

Benckendorff’s chamberlain appears.

CHAMBERLAIN

Is Monsieur Pushkin here? His Excellency is ready now.

NATASHA

Pushkin - as in the poet?

PUSHKIN

(With a slight bow)

At your service, Mademoiselle.

Pushkin follows the chamberlain out of the ball-room. Natasha watches him intrigued. At the last minute, Pushkin looks back and catches her eye. She looks down with a tiny smile.

INT. GOLITSYN MANSION, BENCKENDORFF’S STUDY- A LITTLE LATER

Benckendorff is sitting at his desk leafing through Pushkin’s manuscript for Boris Godunov.

BENCKENDORFF

You really think this is a proper subject to put before the public?

PUSHKIN

I wouldn’t have written it otherwise.

BENCKENDORFF

I merely put the question - is it seemly to show how the throne was usurped by a murderer?

PUSHKIN

Boris Godunov paved the way for the accession of the Romanovs.

BENCKENDORFF

Whom you barely mention... Monsieur, you should not have read the play in public without permission.

PUSHKIN

(Taken aback)

I.. I didn’t read it in public. Some of my friends asked me to read it, that’s all. It was a private gathering.

BENCKENDORFF

I understand it got quite a reception.

PUSHKIN

Sir, will you, or will you not submit it to the Tsar?

BENCKENDORFF

As it happens he himself has asked to read it. You may go now.

PUSHKIN

You’ll let me know when I can publish it?

BENCKENDORFF

If you can publish it. Now if you’ll excuse me, I have other, and I might say, more pressing matters to deal with