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                                          ANNA KARENINA


                         
                                           Written by

                                          Tom Stoppard


                         
                         
                                Based on the novel by Leo Tolstoy.




          INT. POKROVSKOE--NIGHT
                         
          CLOSE--Expert fingers--female, unlovely, capable--shape a small lump of
          dough which, with some shreds of cabbage, becomes a filled bun called a pirozhok . . .
          which is now placed on a baking tray to join rows of pirozhoki ready for the oven.
                         
          CLOSE-- One hand opens the oven, and, mittened by an apron, removes
          a tray of perfectly baked pirozhoki, which the other hand replaces with the
          fresh tray . . . slightly burning itself on a knuckle.
                         
                         
                         TITLE OVER:
                          FEBRUARY 1872
           POKROVSKOE, KONSTANTIN LEVIN'S ESTATE
           300 MILES SOUTH OF MOSCOW:
                         
                         
          INT. KITCHEN, POKROVSKOE, SAME TIME--NIGHT
                         
          Agafia sucks her knuckle and checks what's cooking on the stove-top. She is
          the cook-housekeeper.
                         
                          AGAFIA
           He needs to come in if he's to wash himself.
                         
          A Kitchen Maid at the sink obediently dries her hands on her apron. A
          dozing dog, Laska, pricks up her ears.
                         
                         
          EXT. YARD, POKROVSKOE, SAME TIME--NIGHT
                         
          It's snowing. The Kitchen Maid, shawled, with a lantern, makes her way
          across the yard towards the cowshed, a short distance, and pushes open the
          frozen door. Laska is at her heels, but is made to stay outside.
                         
                         
                          3
          INT. COWSHED, POKROVSKOE, SAME TIME--NIGHT
                         
          The herd stirs at the lantern light. The bull, Berkut, with a ring through
          his nose, snorts as the girl goes by. At the back of the shed a cow is calving.
                         
          Levin is midwifing, sleeves pulled back, blood and slime up to his elbows.
          He is 34. His steward, Vasili, holds up a lantern. Levin pulls carefully at
          the emerging forefeet.
                         
                          LEVIN
           Good girl . . . good girl, Pava.
                         
          The calf's head emerges.
                         
                          KITCHEN MAID
                          (ARRIVING)
           Agafia Mishaylovna says dinner's like to
           spoil.
                         
          The calf enters the world like a diver. Levin is feeling great pride and
          pleasure.
                         
                          LEVIN
           . . . her father's colour.
                         
                          VASILI
           Worth coming home for, Konstantin
           Dmitrich!
                         
                          LEVIN
           I stayed too long in Moscow.
                         
          The cow nuzzles and licks her calf.
                         
                         
                         
                         
                          4
          INT. DINING ROOM, POKROVSKOE--NIGHT
                         
          Cleaned up, in a smock shirt, Levin bites hungrily into a pirozhok, talking.
          He has a book on a book-rest. Agafia ladles soup for him. Three generations
          of family portraits look down on him.
                         
                          LEVIN
           . . . She's a beauty. That's twelve cows sired
           by Berkut!
                         
                          AGAFIA
           So one of you is doing what the good Lord
           made you for.
                         
          Levin evades, ducks into spooning up soup, finding his place in his book.
          Agafia goes out. Alone, Levin closes the book and stares into himself.
                         
                         
          INT. (MOSCOW)-- DAY
                         
          CLOSE--Expert fingers scrape a cut-throat razor across a lathered
          cheek . . . and again, skirting luxuriant facial hair on pampered skin.
                         
                         
                         TITLE OVER:
           PRINCE OBLONSKY'S HOUSE, MOSCOW
                         
                         
          INT. OBLONSKY'S DRESSING ROOM, OBLONSKY
           HOUSE, SAME TIME-- DAY
                         
          There is a door to the landing and a door to the bedroom.
                         
                         
                         
                         
                          5
          Prince Stepan Oblonsky-- Stiva to his friends--is 34 and liked by every-
          body. A barber comes in every morning to shave him. His valet, Matvey, is
          older and almost a friend. He holds up an enormous pear.
                         
                          MATVEY
           What should I do with this?
                         
          Oblonsky puts the barber on hold to have a look.
                         
                          OBLONSKY
           Where did you find it?
                         
                          MATVEY
           In your hat. Your Excellency.
                         
          Oblonsky thinks about it, lets the barber finish. He stands and removes his
          dressing gown.
                         
                          OBLONSKY
           Yes . . . I picked it up somewhere for Daria
           Alexandrovna and the children.
                         
          Matvey is ready with Oblonsky's shirt, which he puts over his master's head
          like a horse's collar.
                         
                         
          INT. "DAY NURSERY," OBLONSKY HOUSE, SAME
                          TIME--DAY
                         
          There is a sloping lineup of five children, aged eight, five, four, three and
          two, dressed and brushed for presentation to their mother, Princess Daria
          Oblonsky, known as Dolly . . . who we now see is heavily pregnant. Stand-
          ing by is a French governess, Mlle. Roland, and a Nurse. Mlle. Roland
          is buxom.
                         
                         
                         
                          6
          Dolly picks up the youngest, Vasya, to kiss him and hands him to the
          Nurse, and kisses the others in ascending order.
                         
                          DOLLY
           Bonjour, Lili; bonjour, Masha; bonjour,
           Grisha; bonjour, Tanya.
                         
           Who's coming to see Grandmama?
                         
                         
          INT. OBLONSKY'S DRESSING ROOM, SAME TIME--
                          DAY
                         
          Oblonsky, dressed now and holding a cup of coffee, checks from the window.
                         
                         
                         OBLONSKY'S POV--
                         
          Dolly, in furs, the four youngest children and the Nurse, who carries Vasya,
          all wrapped up against the cold weather, have come out of the house to a
          waiting sleigh, as noisy as starlings, bickering, competing, reprimanding.
          The Oblonsky's Coachman assists, with a rug to spread across knees.
                         
          Oblonsky hands his coffee to Matvey and lights a small cigar. He detours
          to take a sugared almond from a dish of sweets, and leaves the room . . .
                         
                         
          INT. SCHOOLROOM, OBLONSKY HOUSE, SAME
                          TIME--DAY
                         
          Tanya is at her lessons with Mlle. Roland. When Oblonsky's face appears
          smiling round the door, Tanya jumps up and runs to him, greeting him,
          laughing, kissing his face, hanging on his neck.
                         
                         
                         
                         
                          7
                          OBLONSKY
           My Tanruchoshka! Mind my cigar.
                         
          He pops the sugared almond into her mouth and puts a conspiratorial finger
          to his lips. Mlle. Roland, who has stood up for him, clucks in reprimand.
                         
                          OBLONSKY (CONT'D)
           Be good today. I'm off.
                         
          Tanya runs back to her seat and bends to her schoolbook. Oblonsky looks
          Mlle. Roland in the eye. He moves his head slightly, unmistakably ask-
          ing her to come outside. Mlle. Roland moves her eyes at him in humorous
          reproach. Clearly, this is familiar ground. Oblonsky closes the door behind
          him.
                         
           mlle. roland
                          (PAUSE)
           Read the chapter carefully. I'll come back to
           test you on it . . . Read it twice.
                         
                         
          INT. (ST. PETERSBURG)--DAY
                         
          CLOSE--Pretty fingers put on several rings, and then pick up a Fabergé
          jade paper-knife to slit an envelope and withdraw a letter.
                         
                         
                         TITLE OVER:
           ALEXEI KARENIN'S HOUSE, ST. PETERSBURG
           400 MILES NORTH OF MOSCOW
                         
                         
                         
                         
                          8
          INT. ANNA'S BOUDOIR, KARENIN HOUSE, SAME
                          TIME--DAY
                         
          It is early in the day. Anna's maid, Annushka, has been dressing Anna.
          Annushka is young, loyal, modest.
                         
          Anna is at her dressing-table-bureau, which is host to at least two pho-
          tographs of a small boy (Serozha) and a child's unframed drawing of
          "Maman." As she starts reading the letter, Anna's eyes frown.
                         
                         
          FLASH BACK, VERY SHORT, ALMOST SUBLIMINAL--
                         
          INT. (LINEN CLOSET)--DAY
                         
          Oblonsky and Mlle. Roland in a passionate embrace, vertical, clothed.
                         
                         
          BACK TO SCENE
                         
          Anna turns the page, reads on, concerned.
                         
                         
          FLASH BACK-- SHORT, A BEAT OR TWO--
                         
          INT. LINEN CLOSET, OBLONSKY HOUSE--DAY
                         
          Still kissing, Oblonsky hoists up her skirts.
                         
                         
          BACK TO SCENE
                         
          Anna turns to the second page.
                         
                         
                         
                         
                          9
          FLASH BACK-- SHORT
                         
          INT. BEDROOM LEVEL, OBLONSKY HOUSE--NIGHT
                         
          Oblonsky, coming in quietly and late from a night on the town, enters his
          dressing room. He stops. He smiles a foolish apologetic smile.
                         
                         
          REVERSE-- (DRESSING ROOM)
                         
          Dolly is waiting for him, shocked, enraged, holding out a billet-doux on
          pink paper: a love note.
                         
                         
          BACK TO SCENE
                         
          Anna speaks as in exasperation to a naughty child.
                         
                          ANNA
           Tsk, oh . . . Stiva!
                         
                         
          INT. KARENIN'S STUDY, KARENIN HOUSE--DAY
                         
                          ANNA
           . . . and Dolly found a note from the
           governess.
                         
          Anna is speaking to her husband "confidentially." Karenin, a busy man,
          drains his coffee cup and hands it (as with Oblonsky and Matvey) to his
          valet, Korney, who bows and withdraws. Karenin continues transferring
          papers from his desk to his portfolio . . .
                         
          Which done, he nods to his private secretary, Mikhail Slyudin, who comes
          forward to receive it, bows and leaves.
                         
                         
                          10
                          KARENIN
           Well . . . ?
                         
          Karenin is twenty years older than Anna and a senior figure in govern-
          ment. He has an unattractive reedy voice and is pleased with himself as a
          model of probity. He has the habit of cracking his knuckles.
                         
                          ANNA
           Stiva wants me to come to Moscow . . . to
           persuade Dolly to forgive him.
                         
                          KARENIN
           I'm to be deprived of my wife so that adul-
           tery may be forgiven? I can't excuse him
           just because he's your brother.
                         
                          ANNA
           It's for Dolly's sake too.
                         
                          KARENIN
           (has to go)
           I have four committees today . . .
                         
          There is another interruption: Serozha, aged seven and a half, and his
          tutor, Vasily Lukich, enter for a ritual "good morning." Serozha is a little
          frightened of his father, but the mother and son are in love. Anna goes
          straight to Serozha, her heart lifted, to hug him.
                         
                          KARENIN (CONT'D)
           Good, good!--I have the world waiting
           for me, there's never time to look at your
           exercises!
                         
                         
                         
                         
                          11
                          LUKICH
           Sergei Alexeyich is doing very well, Your
           Excellency.
                         
                          ANNA
           (a button missing)
           Tsk-tsk, who put this shirt on you? Never
           mind. I'll come and hear you read.
                         
                          KARENIN
           Tomorrow, perhaps. Thank you, Lukich--
           perhaps tomorrow.
                         
          Lukich bows. Anna goes with Serozha, relinquishing him finally. She closes
          the door on them.
                         
                          ANNA
           Alexei, do you think nine years of mar-
           riage and children should count for nothing
           against a . . . an infatuation?
                         
          Karenin cracks his knuckles, concedes.
                         
                          KARENIN
           No. Very well.
           (kisses her hand)
           But sin has a price, you may be sure of that.
                         
                         
          INT. OBLONSKY'S DRESSING ROOM, OBLONSKY
                          HOUSE--DAY
                         
          Oblonsky has been bunking down on his couch. He moans and groans. He
          gets up and tries the door to the bedroom. It's locked. He knocks timidly.
                         
                         
                         
                          12
                          OBLONSKY
                          (PITEOUSLY)
           Dolly . . . please think of the children . . .
                         
          He listens hopefully. The other door, leading to the upper landing, is opened
          violently by Dolly.
                         
                          DOLLY
           You think of the children! Their lives are
           ruined now!
                         
          She slams the door behind her.
                         
                         
          INT. BEDROOM LEVEL, OBLONSKY HOUSE, SAME
                          TIME--DAY
                         
          Oblonsky comes out of his dressing room to see the main bedroom door
          slammed. He attempts to go in but the door is locked.
                         
                          OBLONSKY
           Oh, Dolly . . . I beg you . . .
                         
          Matvey come to the top of the stairs with a telegram.
                         
                          MATVEY
           Telegram. Should I send up the barber?
                         
                          OBLONSKY
           No, just the razor.
                         
          Oblonsky tears open the telegram.
                         
                         
                         
                         
                          13
                          MATVEY
           Don't worry, sir, things will shape them-
           selves, you'll see.
                         
                          OBLONSKY
                          (RELIEVED)
           My sister Anna's coming tomorrow. We're
           saved.
                         
                         
          INT. OBLONSKY'S OFFICE, MOSCOW--DAY
                         
          Inner doors open and Oblonsky comes out of his private office. He is his
          genial self. Everyone in the general office-- minor officials, clerks-- stands
          up for him and bows. Oblonsky is wearing government uniform--green
          coat with gold embroidery on the collar--instead of his own coat. Oblonsky
          is helped out of one coat into the other.
                         
                          DOORKEEPER
           Some man came without an appointment,
           Your Excellency . . . waiting outside.
                         
          Oblonsky opens the door to look. Levin is sitting waiting on a bench, wear-
          ing a sheepskin coat, cap and scuffed boots.
                         
                          OBLONSKY
           Levin! Where did you disappear?
                         
          He seizes Levin and kisses him.
                         
                          LEVIN
                          (NERVOUS)
           I'm very anxious to see you. I need your
           advice.
                         
                         
                         
                          14
                          OBLONSKY
           Well, then, come into my room.
                         
          Oblonsky leads Levin back through the general office, where everyone stands
          up again. Levin's sheepskin and boots attract curious glances.
                         
                          OBLONSKY (CONT'D)
           This is my oldest friend, Konstantin Dmit-
           rich Levin! Someone send word I'll be a few
           minutes late.
                         
                         
          INT. OBLONSKY'S PRIVATE OFFICE, SAME TIME--DAY
                         
          Oblonsky leads Levin inside and closes the door.
                         
                          OBLONSKY
           I've been hard at it. Sit down.
                         
          Levin undoes his coat and sits down.
                         
                          LEVIN
           Hard at what exactly?
                         
                          OBLONSKY
           Why, we're overwhelmed with work!
                         
                          LEVIN
           Oh--paperwork.
                         
                          OBLONSKY
           Paperwork is the soul of Russia. Farming
           is only the stomach. When am I going to
           come and shoot some snipe?
                         
          Seeing the clothes Levin is wearing, he laughs.
                         
                         
                          15
                          OBLONSKY (CONT'D)
          Oh, but look at you, in Western clothes
          you told me you'd never wear again. Some-
          thing's up.
                         
                          LEVIN
          Yes. I'm in love. I've come back to propose.
          Have you guessed who she is?
                         
                          OBLONSKY
           (rolls his eyes comically)
          I have a suspicion. Why didn't you propose
          when you were here?
                         
                          LEVIN
          I decided it was impossible. Kitty is of the
          heavens, an angel, and I am of the earth--
          but then I thought and thought, and . . .
          there's no life for me without her! . . . Do I
          have a chance?
                         
                          OBLONSKY
          Of course you do. The Shcherbatskys are
          giving a soiree this evening. Get there early
          before the crowd. If I may suggest . . .
                         
                          LEVIN
          Anything! What?
                         
                          OBLONSKY
          New boots.
                         
                          LEVIN
          Right. Anything else?
                         
                         
                         
                          16
                          OBLONSKY
                          (HESITATES)
           We'd better have dinner together.
                         
           Come on, we'll meet later at l'Angleterre.
           Or do you prefer the Hermitage?
                         
          Oblonsky ushers Levin back into the general office.
                         
                         
          INT. GENERAL OFFICE, SAME TIME--DAY
                         
          . . . Everyone stands up as before. The Doorkeeper produces Oblonsky's top-
          coat and helps him into it.
                         
                          OBLONSKY
           No--five-thirty at l'Angleterre--I owe them
           more than the Hermitage, so it wouldn't be
           fair to withdraw my custom.
           (taking his hat)
           Boots, and a coat. And a proper hat.
                         
          He ushers Levin out.
                         
                         
          EXT. L'ANGLETERRE RESTAURANT, MOSCOW--DAY
                         
          Firstly, a Moscow street scene, busy with people going about their business,
          on foot and in conveyances.
                         
          Secondly, Levin approaches L'Angleterre in his new fur-collared coat, top
          hat and boots.
                         
                         
                         
                         
                          17
          INT. L'ANGLETERRE RESTAURANT, MOSCOW--
                          NIGHT
                         
          Oblonsky and Levin preside over the debris of three dozen oysters, with
          champagne in a bucket to hand. Oblonsky is in a maudlin mood, afloat
          on champagne.
                         
                          OBLONSKY
           It's so unfair. You marry for love, you're
           a good husband. Children arrive. Years
           depart. And all of a sudden your wife is
           tired, her hair is thin, her body . . . while
           you yourself still have your . . . vigour . . .
           and you find yourself distracted by a pretty
           woman . . .
                         
                          LEVIN
           Forgive me, but I find that incomprehen-
           sible . . . As though I'd leave this restaurant
           and steal a roll from a baker's shop.
                         
                          OBLONSKY
           Well, you know, a freshly baked roll . . .
                         
                          LEVIN
           But I'm talking about love, and you're talk-
           ing about . . . your appetite.
                         
                          OBLONSKY
           Easily confused. Now look, do you know
           Count Vronsky?
                         
                          LEVIN
           Who? No. Why?
                         
                         
                         
                          18
                          OBLONSKY
           He's your rival. He turned up from St.
           Petersburg after you left.
                         
                          LEVIN
                          (AGHAST)
           Who is he?
                         
                          OBLONSKY
                          (CHANGING TACK)
           You don't have to worry about him. He's
           one of those rich, good-looking cavalry offi-
           cers who've got nothing to do but make love
           to pretty women . . .
                         
          A waiter arrives to remove the oyster shells, while an Elderly Waiter places
          a bowl of soup in front of Levin and a lobster in front of Oblonsky.
                         
                          OBLONSKY (CONT'D)
           Cabbage soup?
                         
                          ELDERLY WAITER
           Potage aux choux a la Russe, as the gentle-
           man ordered.
                         
                          LEVIN
           It's what I wanted.
                         
          Oblonsky laughs. The Waiter departs.
                         
                          LEVIN (CONT'D)
                          (ANGRY)
           Understand that for me, tonight is a ques-
           tion of life and death.
                         
                         
                         
                          19
                          OBLONSKY
           Oh, Kostya! Kitty would be mad to refuse
           you. And Dolly is on your side, you know.
           She says her sister Kitty was always meant
           to be your wife and will be.
                         
          Levin jumps up in elation, collects himself, and sits.
                         
                          LEVIN
           Dolly said that? I've always thought your
           Dolly's a gem.
                         
                          OBLONSKY
           Oh, she is, she is . . .
                          (THOUGHTFULLY)
           I loved her to distraction.
                         
                         
          INT. (ST. PETERSBURG)--NIGHT
                         
          A little out of focus and further obscured by puffs of steam, the wheels
          of a locomotive and its tender plus a carriage or two, with part of the
          superstructure--the whole kit and caboodle turning out to be a rich child's
          table-top model railway--go by the Camera like a WIPE revealing the
          momentarily gigantic face of Anna . . . who is crouching down to watch
          the toy go by.
                         
                         
          INT. DAY NURSERY, KARENIN HOUSE--DAY
                         
          Serozha is at present snivelling.
                         
                          SEROZHA
           But why?
                         
                         
                         
                          20
                          ANNA
           Because that's where Aunt Dolly lives.
                         
                          SEROZHA
           But why?
                         
                          ANNA
                          (PATIENTLY)
           I told you, Serozha. She's not well. I must
           go to see her.
                         
                          SEROZHA
           But why?
                         
                          ANNA
           Now, don't make Mama cry. I'll be back
           before you know, and bring you a present.
                         
                          SEROZHA
           Don't want a present. I want you to stay.
                         
          Anna is on the brink of tears.
                         
                          ANNA
           Oh . . . my little Kutik . . .
                         
                          SEROZHA
           What present?
                         
                          ANNA
           That's better.
                         
          She dabs her eyes.
                         
                         
                         
                         
                          21
          INT. KARENIN HOUSE--NIGHT
                         
          Kapitonich, the Karenins' Hall Porter, an "old soldier," comes out of the
          house to where a private carriage is waiting. The coachman is Konrad.
          Anna comes out with Annushka, who has a large soft bag containing
          everything her mistress needs for the journey. Kapitonich holds the carriage
          door for them.
                         
                         
          INT. MOVING TRAIN--NIGHT
                         
          Anna has a window seat. Next to her is Annushka.
                         
          In the opposite window seat is Countess Vronsky, at sixty losing the battle to
          keep her youthful beauty. She has a lap dog (and perhaps a Fabergé-topped
          walking cane). Next to her is her Maid.
                         
          Anna is not happy to be leaving. She holds a small framed photo of Sero-
          zha, which she then puts away in her red bag. Countess Vronsky smiles at
          her. Anna wipes her eyes, explains.
                         
                          ANNA
           It's the first time I've left my little boy.
                         
                          COUNTESS VRONSKY
           So you are leaving your son and I am return-
           ing to mine. I am Countess Vronsky.
                         
          Anna knows the name.
                         
           countess vronsky (cont'd)
           I've been in St. Petersburg for the christen-
           ing of a granddaughter--my elder son mar-
           ried Princess Chirkov. You're a charming
           creature. Why don't I know you?
                         
                         
                          22
                          ANNA
           I've never been in Moscow society, really.
                         
                          COUNTESS VRONSKY
           But you know my name?
                         
                          ANNA
           I've heard you mentioned . . .
                         
                          COUNTESS VRONSKY
           Talked about, you mean. Ah, love!
                         
          Anna, found out, smiles tentatively.
                         
                          ANNA
           Was it love?
                         
                          COUNTESS VRONSKY
           Always. My sons are ashamed of me. But I'd
           rather end up wishing I hadn't than end up
           wishing I had--wouldn't you?
                         
                          ANNA
           I . . . I don't know . . .
                         
          Anna looks at the snow on the window. She is unsettled by the conversation.
                         
                         
          EXT. SHCHERBATSKY HOUSE. MOSCOW--NIGHT
                         
          A sleigh (i.e., a cab) brings Levin.
                         
                         
                         
                         
                          23
          INT. ENTRANCE HALL, SHCHERBATSKY HOUSE,
                          SAME TIME--NIGHT
                         
          The Hall Porter lets Levin into the house. A Footman takes Levin's hat
          and coat. Levin is uneasy--he seems to be first to arrive. He decides he has
          come too early. He pulls his coat back from the Footman.
                         
                          LEVIN
           I'll come back.
                         
                         
                         UP ABOVE
                         
          Princess Ekaterina (Kitty) Shcherbatsky is eighteen. Eager to see who has
          arrived, she hurries from the direction of the reception room and looks down
          into the entrance hall in time to see Levin snatch his hat back from the
          Footman.
                         
                          KITTY
           Konstantin!
                         
                          LEVIN
           I'm too early.
                         
                          KITTY
                          (PLEASED)
           No! Come up!
                         
                         
                         DOWN BELOW
                         
          Kitty runs off out of Levin's view. He flings his hat and coat at the Foot-
          man and runs up the stairs.
                         
                         
                         
                         
                          24
          INT. RECEPTION ROOM, SHCHERBATSKY HOUSE,
                          SAME TIME--NIGHT
                         
          Levin hurries in and finds Kitty seated prettily in a "receiving" pose. She
          is alone.
                         
                          KITTY
           Look at me! I'm receiving for Papa and
           Maman who are late to dress. It's my first
           reception.
                         
          Levin plays along, kissing her hand elaborately.
                         
                          LEVIN
           Princess Ekaterina! Delighted, delighted!
                         
                          KITTY
                          ( FORMAL)
           I'm so pleased you were able to be with us,
           Konstantin Dmitrich!
                         
                          LEVIN
                          (DROPPING IT)
           Kitty . . . you look . . . you look--
                         
                          KITTY
           Stiva told us you were back. How long are
           you staying?
                         
                          LEVIN
           I don't know. It depends on you.
                         
                          KITTY
           On me?
                         
                         
                         
                          25
          He has got ahead of himself. Doors are flung open and the hosts, Prince and
          Princess Shcherbatsky, and a crowd of guests who have arrived together, are
          greeting each other. Levin has to make a quick decision, and he makes the
          wrong one--to go on.
                         
                          LEVIN
           What I mean to say--I came with only one
           purpose--I want to--will you be my wife?
                         
          Kitty panics. A wave of Guests is almost upon her.
                         
                          LEVIN (CONT'D)
           I'm sorry--sorry--wrong moment--but
           will you?
                         
                          KITTY
           I can't. I'm sorry.
                         
          Kitty flees. Levin seems stunned, surrounded now by greetings, laughter,
          and servants with trays of drinks.
                         
                          LEVIN
           Yes. It was impossible.
                         
          Prince and Princess Shcherbatsky receive a young married member of Kitty's
          set, Countess Nordston . . . and introduce Levin, who hears and sees noth-
          ing. He turns away, leaving the Countess hung out to dry.
                         
          Levin finds himself face to face with Burisov, a silky Officer in sky blue
          uniform, who introduces himself.
                         
                          BURISOV
           Burisov. Are you the brother of Nikolai
           Levin?
                         
                         
                         
                          26
                          LEVIN
           Yes.
                         
                          BURISOV
           He's in Moscow, he's staying at the Unicorn
           in Khitrovka.
                         
                          LEVIN
           How do you know?
                         
                          BURISOV
                          (SMILES)
           It's the sort of thing I know.
                         
          He bows to Levin and turns away to greet someone.
                         
          Levin reacts, decides to leave. He makes for the door. He nearly collides
          with someone, gives and receives an apology, and suddenly understands who
          this man in Guards uniform must be. Levin turns.
                         
                          LEVIN
           Count Vronsky?
                         
                          VRONSKY
           Yes.
                         
          Levin pauses awkwardly. Vronsky hesitates, bows and continues on. Levin
          witnesses Kitty seeing Vronsky approaching, and sees her face light up.
          Vronsky kisses her hand.
                         
                          VRONSKY (CONT'D)
                          (BANTERING)
           Princess Kitty . . . It's been so long, and yet
           it seems like yesterday.
                         
          His banter is lost on her. She laughs happily.
                         
                         
                          27
                          KITTY
           It was yesterday!
                         
          Levin turns away and leaves.
                         
                         
          EXT. SHCHERBATSKY HOUSE--NIGHT
                         
          Levin comes out of the grand house where several coaches are waiting. Hum-
          bled and angry with himself and the world, he takes off his top hat and
          considers putting his fist through it, but jams it back on his head. A horse-
          cab comes along. Levin waves it down.
                         
                         
          EXT. KHITROVKA, MOSCOW--NIGHT
                         
          A mean street, an area of poverty and crime. Levin pays off his cab.
                         
                         
          INT. THE UNICORN, KHITROVKA--NIGHT
                         
          Levin goes up a dimly lit, dingy staircase. Snatches of MUSIC and SING-
          ING drift up the stairs.
                         
                         
          TOP OF THE STAIRS
                         
          Levin knocks at a door, then louder. The door is flung open. Nikolai
          Levin is the spirit of consumptive, bohemian radicalism. He peers at Levin,
          surprised.
                         
                          LEVIN
           It's Kostya.
                         
          Nikolai roars with laughter which turns to wheezing.
                         
                         
                          28
                          NIKOLAI
           God, look at him! You look like a capitalist!
                          (THEN SUSPICIOUSLY)
           What do you want?
                         
                          LEVIN
           Nothing. I came to see you.
                         
          Nikolai goes back into the room, shouting for "Masha." Levin follows him.
                         
                         
          INT. NIKOLAI'S ROOM, KHITROVA, SAME TIME--
                          NIGHT
                         
          Levin sees that he is in a tiny apartment. A Young Woman looks at him
          fearfully from the inner doorway.
                         
                          LEVIN
           Good evening, miss . . . madame . . .
                         
                          NIKOLAI
           Don't talk to her like that. It frightens her.
           You sound like a magistrate.
           (shouts at her)
           More vodka for my brother, quick about it.
                         
                          LEVIN
           I don't want anything.
                         
          Masha goes to Nikolai and whispers to him, calming him.
                         
                          NIKOLAI
           I'm all right.
                         
          He fills a wineglass with vodka and gulps it greedily.
                         
                         
                          29
                          NIKOLAI (CONT'D)
           Who told you where to find me?
                         
                          LEVIN
           A colonel in the Third Department. They're
           watching you.
                         
                          NIKOLAI
           Good. They must think I'm dangerous.
                         
          Levin involuntarily smiles at the self-puffery.
                         
                          NIKOLAI (CONT'D)
           What have you got to smile about?
                         
                          LEVIN
           Nothing.
                         
                          NIKOLAI
           That's right. The day is coming. I gave up
           my birthright for it. You're on the wrong
           side of history. Not because privilege is
           immoral but because it's irrational.
                         
          Wheezing, he goes for the bottle again. Masha tries to take it from him,
          appealing to Levin.
                         
                          MASHA
           He is sick.
                         
                          NIKOLAI
           Let go or I'll beat your lights out.
                         
          He pushes her away and pours himself more vodka.
                         
                         
                         
                          30
                          NIKOLAI (CONT'D)
           I took Mary Nikolova from a brothel but I
           consider her my wife. If her presence offends
           you you're free to leave. Are you married?
                         
                          LEVIN
           No.
                         
                          NIKOLAI
           Why not? Are you waiting to fall in love?
                         
                          LEVIN
           No.
                         
                          NIKOLAI
           Good. Romantic love will be the last illu-
           sion of the old order. You should marry one
           of your peasants.
                         
          Levin's reaction is almost violent, surprising Nikolai.
                         
                          LEVIN
           Yes. I damn well should!
                         
                          NIKOLAI
           (toasts, casually)
           The brotherhood of man.
                         
          Levin recovers himself. He takes out his wallet.
                         
                          LEVIN
           Nikolai, you have to see a doctor. Then
           come and stay with me at Pokrovskoe till
           you get your health back.
                         
                         
                         
                          31
                          NIKOLAI
                          (SCORNFULLY)
           With my wife?
                         
          Levin becomes flustered.
                         
                          LEVIN
           If you . . . or go abroad to a spa. I'll send you
           more if that's what you . . .
                         
          Masha reaches for the money Levin has put on the table. Nikolai knocks
          her hand away. He throws the banknotes at Levin. He coughs himself into
          a paroxysm. Levin tries to embrace him. Nikolai throws him off.
                         
                          LEVIN (CONT'D)
                          (CRIES OUT)
           What about the brotherhood of brothers?
                         
          Masha snatches up the banknotes.
                         
                         
          INT. STATION (MOSCOW)--DAY
                         
          There is a scattering of people of all classes on the platform waiting for the
          arriving train.
                         
          By the entrance/exit gate, a Guards Officer stands holding a bouquet. The
          Stationmaster stands by. A strip of faded red carpet has been laid on the
          planks.
                         
                          STATIONMASTER
           The private coach will stop opposite the
           carpet.
                         
          The Guards Officer nods. He sees Vronsky arriving.
                         
                         
                          32
                          VRONSKY
           Hello, what's this?
                         
                          GUARDS OFFICER
           Austrian royalty on their honeymoon. I've
           got them for four days.
                         
                          VRONSKY
           Bad luck. What do they like? Art?
                         
                          GUARDS OFFICER
           Food.
                         
                          VRONSKY
           Here's the train.
                         
                         
          EXT. PLATFORM, THE ARRIVING TRAIN, SAME
                          TIME--DAY
                         
          Vronsky moves closer to the slowing train, scanning the windows going by.
                         
                         
          EXT. PLATFORM ENTRANCE GATE, SAME TIME--DAY
                         
          The Guards Officer and the Stationmaster are disconcerted to see the obvious
          "private coach" stop seriously short (or long) behind luggage wagons, etc.
                         
                          STATIONMASTER
           I'll see to it.
                         
          He hurries away towards the engine.
                         
          Oblonsky hurries through, relieved not to be late.
                         
                         
                         
                          33
          EXT. PLATFORM, SAME TIME--DAY
                         
          Vronsky is saluted by his mother's Major Domo, a tall man in livery with
          a cockade.
                         
                          MAJOR DOMO
           Second carriage, Your Excellency. I'll see to
           the Countess's luggage and bring it on to the
           house.
                         
          Vronsky nods, and makes his way towards the second coach, against the
          flow of disembarked passengers.
                         
                         
          EXT. TRAIN (ENGINE), SAME TIME
                         
          The Stationmaster speaks to the Engine Driver.
                         
                         
          EXT. EXIT/ENTRANCE GATE, SAME TIME--DAY
                         
          The Guards Officer with the bouquet stands uncertainly while arriving
          passengers go past him.
                         
                         
          EXT. "PRIVATE COACH," SAME TIME--DAY
                         
          The Royal Austrian Honeymooners peer anxiously through the window.
                         
                         
          INT. TRAIN, SAME TIME-- DAY
                         
          Countess Vronsky remains sitting. Annushka packs away Anna's blanket
          and pillow. Anna looks out of the window.
                         
                         
                         
                          34
                          ANNA
           I'll come back.
                         
          Anna moves to the door opening on to the "porch." Vronsky is on the point
          of entering. He steps back to allow her by. They barely exchange a glance
          as she passes him, but, simultaneously, each of them looks back. Anna looks
          away quickly. His look lingers before he turns away to enter the carriage.
                         
                         
          INT./EXT. PORCH--DAY
                         
          Anna, from her vantage point spots Oblonsky, calls to him. Annushka,
          with her bag, comes onto the porch and descends to follow her mistress.
                         
                         
          EXT. PLATFORM, SAME TIME--DAY
                         
          Anna steps down to the platform and embraces Oblonsky. They are delighted
          to see each other.
                         
                          ANNA
                          (ACCUSINGLY)
           You don't look ashamed.
                         
                          OBLONSKY
                          (CONTRITE)
           I am, I really am.
                         
                         
          INT. TRAIN, SAME TIME-- DAY
                         
          Countess Vronsky remains in her seat. Vronsky bends at the window, look-
          ing at Oblonsky and Anna.
                         
                         
                         
                         
                          35
                          VRONSKY
           Yes, of course. Oblonsky's sister . . .
           Karenina.
                         
                          COUNTESS
           Charmante, don't you think?
           (to her Maid)
           Wait for me in the carriage. I'll take Tosca.
                         
          She takes the dog. The Maid leaves with her bag.
                         
                          VRONSKY
           . . . You stayed longer in St. Petersburg.
                         
                          COUNTESS VRONSKY
           Long enough for you to start a little love
           affair, I hear.
                         
                          VRONSKY
           I can't think what you're referring to,
           Maman.
                         
          He glances back to the window, where Anna turns back to enter the train.
                         
                         
          EXT. PLATFORM, SAME TIME--DAY
                         
          As Anna turns back, a Railwayman with a hammer for tapping wheels
          is in her way. He steps back for her with a bow and a "Madame!" Anna
          glances at him and moves past him. The man taps a wheel, making a ring-
          ing sound which means the wheel is okay.
                         
          As Anna mounts the steps, a Train Guard looks up and down the plat-
          form, holding a green flag.
                         
                         
                         
                          36
          INT. TRAIN, SAME TIME-- DAY
                         
          Anna enters from the porch.
                         
                          ANNA
           There, Countess, you have found your son
           and I have found my brother.
                         
                          COUNTESS VRONSKY
           Madame Karenin has a son, too. It's the first
           time they have been apart, so she frets about
           him.
                         
                          VRONSKY
           Excuse me for not recognizing you before.
                         
                          COUNTESS VRONSKY
           We passed the time telling each other about
           our sons.
                         
                          ANNA
           Yes, I've been hearing all about you.
                         
                          VRONSKY
           That must have been very boring for you.
                         
          The ringing sound of the wheel-tapper's hammer is faintly audible in
          Anna's hesitation. Anna shuts off the gallantry.
                         
                          ANNA
           Au revoir, Countess.
                         
                          COUNTESS VRONSKY
           Au revoir, my dear. Let me kiss your pretty
           face.
                         
                         
                          37
          Countess Vronsky does so. Anna turns to offer her hand to Vronsky. As
          Vronsky takes her hand, the train lurches and moves, unsteadying them
          both.
                         
                         
          EXT. PLATFORM, SAME TIME--DAY
                         
          Oblonsky-- and everyone still on the platform--is shocked by a dreadful
          scream and shouting. The train, having moved a few feet, stops. Oblonsky
          hurries towards the scene of the accident, right opposite the gate. The Station-
          master overtakes him.
                         
                         
          EXT. TRACKS, SAME TIME, DAY
                         
          The Wheel-Tapper lies between the wheels, mangled.
                         
          Oblonsky joins the horrified onlookers. The Guards Officer arrives, too,
          with his bouquet. Then Vronsky arrives. He turns to the Guards Officer.
                         
                          VRONSKY
           Keep your people inside until this has been
           cleared up.
                         
                         
          EXT. PLATFORM AND EXIT GATE--DAY
                         
          Countess Vronsky, Vronsky, Anna and Oblonsky, Oblonsky almost in tears,
          come towards the gate. A Porter follows with Anna's large suitcase, hat-
          boxes, etc. Annushka has the travelling bag.
                         
                          OBLONSKY
           . . . the sole support of a large family, they
           say.
                         
                         
                         
                          38
                          ANNA
           Can't anything be done for them?
                         
          Vronsky glances at her.
                         
                          VRONSKY
           Wait for me, Maman.
                         
          Vronsky retraces his steps.
                         
                          COUNTESS VRONSKY
                          (TO ANNA)
           I've you to thank for that.
                         
          She knows her son. Anna hasn't understood, but when Oblonsky looks back
          he sees Vronsky with the Stationmaster, taking money from his wallet.
                         
                          OBLONSKY
           What a good fellow . . .
                         
          Anna catches on, doesn't like it.
                         
                         
          INT. OBLONSKY COACH--DAY
                         
                          ANNA
           Have you known Count Vronsky long?
                         
                          OBLONSKY
           Did you like him? He's in love with Kitty.
                         
                          ANNA
           Oh . . .
                          (PAUSE)
           But we should be discussing you and Dolly.
                         
                         
                          39
          She scolds him like a naughty boy.
                         
                          ANNA (CONT'D)
           What have you got to say for yourself?
                         
                          OBLONSKY
           I've said it all--on my knees--in tears . . .
           Now I need you to say it. I'm going to the
           office, so you'll have Dolly to yourself.
                         
                          ANNA
                          (SEVERELY)
           Don't be home late.
                         
                         
          INT. RECEPTION ROOM, OBLONSKY HOUSE,
                          MOSCOW--DAY
                         
          Dolly pours tea for Anna. Dolly smiles at her wanly-- brightly.
                         
                          DOLLY
           Kitty's coming by to see you. She's all
           grown-up, and a bit frightened of you--the
           belle of St. Petersburg society!
                         
                          ANNA
           Is that who I am?
                         
           Dolly . . . Stiva has told me.
                         
          Dolly bursts into tears. Anna embraces her.
                         
                          ANNA (CONT'D)
           Dolly, I'm sorry from the bottom of my
           heart.
                         
                         
                          40
                          DOLLY
          I don't know what to do.
                         
                          ANNA
                          (SOOTHING)
          I know, I know.
                         
                          DOLLY
          I can't bear to be with him. And he doesn't
          care, he's got what he wants.
                         
                          ANNA
          What he wants is you. He loves you, Dolly.
          You and the children are everything to him.
                         
                          DOLLY
          Are we? And there is room for a governess?
                         
                          ANNA
          That was shameful, disgraceful. But it was
          not love. It was the animal in man, not the
          soul. Stiva's remorse is from the soul.
                         
                          DOLLY
          What about me? Does his remorse make it
          easier for me?--
                         
                          ANNA
          I know you are suffering. But, Dolly, you
          must tell me . . . is there enough love left in
          your heart . . . enough to forgive him?
                         
                          DOLLY
          When I think of them together, I can't for-
          give him, no!
                         
                         
                          41
                          ANNA
           My poor lamb. So you'd rather accept your
           fate . . .
                         
                          DOLLY
           My fate?
                          (OUTRAGED)
           But I haven't done anything! It's him
                          WHO'S--
                         
                          ANNA
           Do you love him, Dolly?
                         
          Dolly nods tearfully.
                         
                          ANNA (CONT'D)
           You love him, and he loves you, but you
           can't forgive, so your lives must continue
           like this for ever, with both of you wretched.
                         
          She's winning.
                         
                         
          INT. RECEPTION ROOM, OBLONSKY HOUSE--DAY
                         
          Anna, Kitty, Tanya and Grisha are at a handsome card table where
          board games, dominoes, cards, etc., are kept. There is a spill of alphabet
          bricks, each with a letter printed in it. They are spelling out their names in
          alphabet bricks. Grisha is on Anna's lap pulling at her hair. The spelling
          business, including misspellings by Grisha, creates a noise of laughter and
          mock-rebuke. Tanya at the same time is trying to pull a ring from Anna's
          finger.
                         
          Kitty is not at all frightened of Anna now; enraptured by her, laughing.
                         
                         
                         
                          42
                          ANNA
           Grisha, don't pull so hard, you're getting it
           all in a tangle--and look for another G for
                          GRIGORI--
           (She takes off her ring for Tanya)
           --here, darling, you can wear it till you go
                          TO BED--
                         
          Dolly sits apart, embroidering. She looks up at the sound of voices down-
          stairs, Oblonsky coming home. The children hear their father and abandon
          the card table, running out to greet him. Dolly stands up to leave by a dif-
          ferent door, giving Anna a collusive glance.
                         
          Anna pushes aside the alphabet bricks.
                         
                          ANNA (CONT'D)
           Well, that's the end of that.
                         
                          KITTY
           Will you stay for the Bobrishchev's ball,
           Anna?
                         
                          ANNA
           Oh . . . I always feel dull at a ball.
                         
                          KITTY
           How can you ever be dull?
                         
          Oblonsky arrives in the doorway with Tanya and Grisha hanging on him.
                         
                          KITTY (CONT'D)
           Stiva! Tell Anna she must come to the ball.
                         
                          OBLONSKY
           Of course she must.
                         
                         
                          43
          He cocks an eye at Anna: how did it go with Dolly? Anna moves her head:
          upstairs.
                         
                          ANNA
           . . . and God go with you.
                         
          Kitty catches the moment.
                         
                          OBLONSKY
                          (LEAVING)
           You can introduce me to your new governess.
                         
                          TANYA
           She's old! She's a hundred!
                         
          Which leaves Anna and Kitty alone.
                         
                          ANNA
           I know why you want me to come. You want
           everyone to be there because you're sure it's
           going to be your night.
                         
                          KITTY
           How did you know?
                         
          Anna's smile is her acting out a mock-mysteriousness.
                         
                          ANNA
           I know everything.
                         
          She has moved alphabet letters around to spell out VRONSKY. She laughs
          at Kitty's tearful, joyful nodding, genuinely happy for Kitty.
                         
                          ANNA (CONT'D)
           Oh, to be your age again . . . surrounded by
           that blue mist, like mist on the mountains
                         
                         
                          44
           that clears slowly to reveal the terrifying,
           beautiful valley you must enter to become
           grown-up . . . I was eighteen too, when I
           got married . . .
                         
          A quiet note of regret hangs in the air between them for a moment before
          Anna dispels it.
                         
                         
          INT. RECEPTION ROOM, OBLONSKY HOUSE--NIGHT
                         
          With only a lamp or two lit, and the door open, Anna sits alone at the
          card table, with a neglected book, one hand playing idly with the alpha-
          bet bricks. Their pleasant clicks are the only sound as she remains lost in
          thought. She closes her book, marking the place. She is going to go up to bed.
          She hears the sound of the doorbell.
                         
                         
          INT. ENTRANCE HALL, OBLONSKY HOUSE, SAME
                          TIME--NIGHT
                         
          Vronsky has been let in spattered with snow.
                         
                          SERVANT
           . . . no, Your Excellency . . . He's just gone
           up. . . . The Princess retired early . . . Is
           there a message?
                         
          Vronsky glances up and sees Anna looking down. Their eyes meet. A second
          passes. Vronsky is about to speak. Anna turns away and moves out of his
          view, towards further stairs, with her book.
                         
                          VRONSKY
           No.
                         
                         
                         
                          45
          EXT. NEAR POKROVSKOE--DAY
                         
          Levin is coming home in a sleigh, driven by his one-eyed coachman, Ignat.
          He is huddled under a bearskin blanket. The house is in sight.
                         
          The sleigh overtakes a Peasant Woman, Serafina, walking to the house car-
          rying a big bundle of willow wands strapped to her back: a strong young
          woman with a handsome face. She stops and bows her head. Levin looks at
          her. She then looks him in the face.
                         
          Laska, barking joyfully, races from the house.
                         
                         
          INT. BATHHOUSE, POKROVSKOE-- DAY
                         
          The bathhouse has a stove which heats water. There is a brazier to create
          instant steam, but not now. Levin, almost naked, lies on a plank deck,
          thoughtful, staring at something . . . no, at someone: Serafina, who is put-
          ting on her clothes. Postcoitum. She has no angst. Dressed, she crosses herself.
                         
                          LEVIN
           Will you go to confession?
                         
          Serafina nods indifferently.
                         
                          LEVIN (CONT'D)
           God will forgive you.
                         
                          SERAFINA
           And you also, master. He is watching.
                         
                          LEVIN
           God forgive us then, for committing the act
           of love.
                         
          She nods without irony.
                         
                         
                          46
                          SERAFINA
           He is merciful.
                         
                          LEVIN
           "Not according to my deserts, O Lord,
           but according to thy mercy"--that's a fine
           prayer. But I'm full of doubt. Sometimes I
           even doubt that God exists.
                         
                          SERAFINA
           How can there be anything if God didn't
           make it?
                         
                          LEVIN
           I don't know. One day science will tell us.
                         
                          SERAFINA
           That's sinful talk if the priest heard you.
                         
                          LEVIN
           Well, I won't go to confession.
                         
                          SERAFINA
                          (SHRUGS)
           Your father built the church. You're con-
           fessed a while yet.
                         
          Levin feels outplayed.
                         
                          SERAFINA (CONT'D)
           Will you bring me something from
           Moscow?
                         
                          LEVIN
           What would you like?
                         
                         
                          47
                          SERAFINA
           Soap, the kind wrapped in paper to look
           pretty, and smelling like for a proper lady.
                         
          Levin is touched. He nods.
                         
          SOUND OVER--MUSIC OVERLAP WITH THE BALL.
                         
          INT. THE BALL, MOSCOW--NIGHT
                         
          Kitty enters the Ball, a proper lady.
                         
          This is a gilded affair, conducted by a Master of Ceremonies. The Host
          and Hostess are positioned to welcome each guest. Dancing has started-- a
          waltz.
                         
          Kitty and her parents enter the ballroom and are received by their hosts.
          Everything has come together for Kitty--her dress, her hair, her skin, her
          moment. She radiates happiness. An Officer stands aside to let them pass,
          openly admiring Kitty, smoothing his moustache. A Youth having trouble
          with his white tie hurries past but turns back to Kitty.
                         
                          YOUTH
           Kitty! May I have a waltz?
                         
                          KITTY
           You may, Boris. I'll save you the third just
           because it's your first ball.
                         
                          YOUTH
                          (THRILLED)
           You're my first conquest.
                         
          The Master of Ceremonies, Korsunsky, arrives and without permission
          sweeps her into the waltz.
                         
                         
                          48
                          KORSUNSKY
           It's a relaxation to dance with you, Princess.
                         
          Kitty sees Anna arriving with Oblonsky and gives a little gasp at her
          God-given beauty.
                         
                          KORSUNSKY (CONT'D)
           But back to work! Where do you want to
           be taken?
                         
                          KITTY
           There.
                         
          Korsunsky waltzes her brilliantly through the dancers and twirls her to
          rest in front of a small group including Anna and Oblonsky-- floating
          Kitty's train.
                         
                          KORSUNSKY
                          (BOWING)
           So that your ankles may be seen.
                         
          Anna appraises Kitty at a glance and gives her a tiny nod signifying top
          marks. Kitty glows.
                         
                          KITTY
           How are you, Stiva?
                         
                          OBLONSKY
           Thanks to Anna, I am a happy man. Would
           you like to dance?
                         
                          KITTY
           No, ask Anna.
                         
                         
                         
                         
                          49
                          ANNA
                          (DEMURS)
           No . . . I don't . . .
                         
          She looks up and sees Vronsky coming straight towards her.
                         
                          ANNA (CONT'D)
           Come on then.
                         
          Just as Vronsky is about to bow, she takes Oblonsky's arm and he whirls
          her away. Kitty smiles for Vronsky but his eyes have followed Anna, know-
          ing she cut him. He remembers himself after an awkward hiatus. Kitty's
          mother and father are watching from afar. Vronsky obliges. He invites her
          into the waltz.
                         
                          PRINCE SHCHERBATSKY
           . . . this vile, idiotic matchmaking of
           yours . . .
                         
                          PRINCESS SHCHERBATSKY
           For goodness' sake, what have I done?
                         
                          PRINCE SHCHERBATSKY
           Levin is a thousand times better than this
           Petersburg fop. If he had royal blood my
           daughter wouldn't need him!
                         
          Vronsky's mind is absent and the waltz ends after only a few steps. He
          stand waiting for the music to start.
                         
                          KITTY
           Is anything the matter?
                         
                         
                         
                         
                          50
                          VRONSKY
           No. You look . . . as lovely as ever, Princess
           Kitty.
                         
          The music starts and they dance on.
                         
          At the end of the waltz, Vronsky leaves Kitty with her mother, bows and
          departs. Princess Shcherbatsky is beginning to have doubts. She starts to ask.
                         
                          KITTY
                          (SHARPLY)
           Don't ask me, Maman!
                         
          Boris the Youth pops up to claim his dance. Dancing, Kitty sees Vronsky
          talking to a couple of Officers. She is anxious but not disillusioned.
                         
          Grumpy Prince Shcherbatsky is dancing with Countess Nordston.
                         
                          COUNTESS NORDSTON
           He'll dance the mazurka with Kitty, you'll
           see. I call the mazurka the now-or-never.
                         
          Anna watches the dancing. She rejects an offer with a smile. She sees Vron-
          sky and to her discomfort Vronsky looks up and catches her looking.
                         
          She turns away at once, and notices that ladies are curtseying and men are
          bowing as the Host and Hostess escort an overweight but glittering young
          couple towards a decorative buffet in an adjoining salon: the Austrian
          royal honeymooners . . . attended by the Guards Officer from the station.
          Anna stands and curtseys as they pass by into the salon . . . where Oblonsky
          is roaring with laughter, champagne in hand.
                         
                          AUSTRIAN PRINCESS
           . . . we were shut up in the train for an hour!
                         
                         
                         
                          51
          Anna steals a sidelong glance towards Vronsky but he is no longer there.
          She looks for him among the dancers, smiles at Kitty going by with the
          enthusiastic, inexpert Boris.
                         
          Suddenly, Vronsky is at Anna's side.
                         
                          VRONSKY
           Dance with me.
                         
                          ANNA
                          (CALMLY)
           I am not used to being spoken to like that
           by a man I met once at a railway station.
                         
                          VRONSKY
           I dare say, but if I'm not to dance with you,
           I'm getting out of this operetta and going
           home.
                         
                          ANNA
           Then, for Kitty's sake.
                         
          She gives him her hand.
                         
          Kitty looks for Vronsky, can't see him, then is taken aback to see him with
          Anna. Kitty watches Anna dancing. Anna says something which makes
          Vronsky laugh. Anna laughs. Anna blossoms in front of Kitty's eyes. Vron-
          sky twirls Anna around and she comes smiling into his arms.
                         
          It goes on like that. Kitty watches them from within the arms of young men,
          old men, from the wall. Anna and Vronsky dance slow, they dance fast,
          gaily, solemnly, gazes locked.
                         
          Others are noticing too: Countess Nordston, Princess Shcherbatsky, and
          eagle-eyed matrons. Anna, oblivious, has found a release in herself.
                         
                         
                          52
          Countess Nordston finds Kitty sitting alone. Korsunsky announces the
          Mazurka.
                         
                          COUNTESS NORDSTON
           You're not dancing the mazurka? I won't
           have it.
                         
          She pulls Kitty to her feet.
                         
           countess nordston (cont'd)
           I'm engaged by General Glub--I give him
           to you.
                         
                         
          THE MAZURKA . . .
                         
          Korsunsky supervises a large circle of couples who change partners as they go
          round, with one couple dancing in the middle of the circle.
                         
                          KORSUNSKY
           . . . the lady chooses a lady and a
           gentleman . . . !
                         
          The lady in the middle beckons to Anna and the man who, changing part-
          ners, happens to be dancing with her. They enter the middle where they
          have their solo turn as a couple, while the original couple reenter the circum-
          ference. Anna is flushed with pleasure. Among the surrounding dancers,
          Vronsky has no eyes for his partner, only for Anna. Kitty, dancing, watches
          Vronsky incredulous.
                         
                          KORSUNSKY (CONT'D)
                          (ADDRESSING ANNA)
           . . . and the lady chooses a lady and a
           gentleman . . . !
                         
                         
                         
                          53
          Anna looks smilingly around the dancing circle and sees Kitty staring
          at her. Anna "wakes up." Everything which made her drunk makes her
          sober in the instant. She waits until the change of partners brings Kitty
          and Vronsky together. She beckons them into the middle. Her own partner
          expects to re-join the circumference with Anna, but she makes an apology
          and escapes through the circle, running towards the door.
                         
          With a howl and clatter, the St. Petersburg express seems to crash through
          the ballroom.
                         
                         
                         MONTAGE
                         
          An abstract, nightmarish, discordant noise of clattering and howling
          accompanies unexplained flame--light on wood, glass, iron . . . blackness
          opens like a door on a blizzard of light, and slams shut.
                         
          Anna's face, eyes closed, floats ghostlike.
                         
                         
          INT. TRAIN, SAME TIME--NIGHT
                         
          Anna comes to consciousness in the dimly lit carriage, making sense of what
          seems like a hallucination. Wind and snow batter on the window. The
          Carriage Stoker, in long coat and cap, deals with the stove, clears frost off
          a thermometer on the wall. He leaves, opening the door to snow and wind
          and slamming it behind him.
                         
                         
          EXT. RUSSIA--NIGHT
                         
          The train "speeds" (35 m.p.h.) through a blizzard.
                         
                         
                         
                         
                          54
          INT. THE TRAIN
                         
          Anna has a reading lamp hooked over her armrest, and a novel. She cuts
          a page with a paper-knife. But the book cannot hold her. She is reading
          without taking it in. She turns back a page and tries again, but almost at
          once she turns to the window where the dark reflection of her face looks back
          at her. Kitty's face staring as she stared at Anna, betrayed.
                         
          Anna turns away from the window. The Guard comes through the door,
          letting in wind and snow, and shuts it. He walks through the carriage.
                         
                          GUARD
           Bologoye! Fifteen minutes.
                         
          The train is slowing.
                         
                         
          EXT. BOLOGOYE--NIGHT
                         
          The train clanks to a halt at a small station. Anna (and a few others)
          get down from the train. She wears a heavy cloak. The wind blows a few
          snowflakes through the station but the roof keeps off the snow. She is glad of
          the fresh air. Here and there, men are walking, smoking, laughing together.
          She feels better.
                         
          A tall outline of a man in a greatcoat and military cap emerges from the
          flickering gloom. She catches her breath. He salutes her.
                         
                          VRONSKY
           Can I be of service to you?
                         
                          ANNA
           I didn't know you were . . . Why are you
           leaving?
                         
                         
                         
                          55
                          VRONSKY
           You know why. I have to be where you are.
           I can't not.
                         
                          ANNA
           This is wrong. If you're a good man, forget
           everything that happened, as I will.
                         
                          VRONSKY
           I'll never forget a single thing about you,
           not a word, not a gesture--
                         
                          ANNA
           That's enough!
                         
          She climbs the steps on to the porch. At the door to the carriage she pauses.
          The encounter has left her feeling elated and frightened.
                         
                         
          EXT. STATION, ST. PETERSBURG--DAY
                         
          The train arrives. Vronsky gets down from the train and starts to walk
          towards Anna's carriage. His German valet, Franz, runs up to him (from
          second class).
                         
                          VRONSKY
           Take the luggage home.
                         
          Franz runs back the other way. Vronsky walks on, then stops when he
          sees Karenin waiting on the platform, smiling and going forward to hand
          Anna down the steps. Kapitonich enters the carriage. Vronsky hesitates.
                         
                          ANNA
                          (ANXIOUS)
           Is Serozha all right?
                         
                         
                          56
                          KARENIN
           Oh, is that all I get? Yes, he's quite well.
                         
          Vronsky steps forward. Anna knows he's there. She angles herself to avoid
          looking at him.
                         
                          VRONSKY
           Did you have a good night?
                         
          He bows to Karenin.
                         
                          ANNA
           Yes, quite comfortable. Count Vronsky.
                         
          Karenin extends a hand indifferently then dismisses Vronsky, drawing
          Anna with him.
                         
                          KARENIN
           I have to get back to the Committee . . .
                         
          He walks Anna away.
                         
                          KARENIN (CONT'D)
           Well--were you a success?
                         
                          ANNA
           I? Oh--Dolly and Stiva . . . yes, I think
           so . . .
                         
          Vronsky watches them go.
                         
                         
                         
                         
                          57
          EXT. VRONSKY'S APARTMENT, ST. PETERSBURG--
                          DAY
                         
          A snowy St. Petersburg street. Vronsky arrives home by cab. He has a flat
          in an old apartment block.
                         
                         
          INT. VRONSKY'S FLAT, ST. PETERSBURG, SAME
                          TIME--DAY
                         
          Vronsky rings the doorbell. A Servant opens the door. A male voice shouts
          "If it's someone demanding money, don't let him in!"
                         
                          VRONSKY
           I'll announce myself.
                         
          Veronsky enters the main room. The occupant of the flat is a 2nd Lieuten-
          ant, Petritsky, wearing his greatcoat over shirt and trousers.
                         
                          PETRITSKY
           Vronsky! The master himself. Baroness,
           coffee from the new coffeepot for Count
           Vronsky.
                         
          Petritsky indicates a pretty young woman in satin.
                         
                          PETRITSKY (CONT'D)
           I hope you are pleased by this ornament to
           your quarters.
                         
          Vronsky bows and kisses her fingers.
                         
                          BARONESS
           I'll be off home if I'm in the way.
                         
                         
                         
                          58
                          VRONSKY
          You're at home where you are, Baroness.
                         
                          BARONESS
          Ah!--Pierre, you never say such pretty
          things to me. We were just discussing my
          husband. He won't divorce me, you see. And
          do you know why?
                         
                          VRONSKY
          No.
                         
                          BARONESS
          Because he likes eating off my family silver.
                         
                          VRONSKY
          Ah.
                         
                          BARONESS
          I want to bring an action. Just because I'm
          supposed to be unfaithful, I don't see why I
          have to eat off Pierre's crockery. Look at it.
                         
                          VRONSKY
          It's my crockery.
                         
                          PETRITSKY
          How was Moscow?
                         
                          VRONSKY
          Provincial.
                         
                         
                         
                         
                          59
          INT. SEROZHA'S BEDROOM, KARENIN HOUSE--
                          NIGHT
                         
          Anna, her dress changed, lies on Serozha's bed, on her side, one arm under
          his bedclothes scratching his back gently. He lies quietly on his stomach,
          with his eyes closed, his face inches from hers. In the dim light of a night-
          light she gazes at him for long moments.
                         
                          SEROZHA
                          (MUTTERS)
           You've stopped.
                         
          She resumes scratching. He grunts contentedly.
                         
                          SEROZHA (CONT'D)
                          (SLEEPILY)
           Thank you for my present.
                         
                          ANNA
           Sssh . . .
                         
          She kisses him and continues to lie there, gently scratching. He falls quickly
          asleep. She removes her arm and restores his bedclothes.
                         
                         
          INT. BEDROOM FLOOR, KARENIN HOUSE--NIGHT
                         
          There is a suite of rooms: the Bedroom connects to Anna's Boudoir/Dressing
          Room; and thence to Karenin's small Sitting Room/Dressing Room, which
          connects to the rest of the house. The rooms--like the whole house-- are lit
          by gas lamps but also by candles at key points.
                         
                         
                         
                         
                          60
          INT. KARENIN'S DRESSING ROOM, SAME TIME--
                          NIGHT
                         
          Korney, the Valet, gathers up a discarded shirt, etc. Karenin in a dressing
          gown is reading in a comfortable chair, by a candle lamp. Korney leaves.
                         
                         
          INT. BOUDOIR, SAME TIME--NIGHT
                         
          Anna is at her bureau. She frowns and tears up the letter she is writing.
                         
                         
          INT. DRESSING ROOM, SAME TIME--NIGHT
                         
          Karenin looks at the clock-- nearly midnight-- and closes his book. He
          blows out the candle. He comes to the boudoir announcing himself with a
          smile.
                         
                          KARENIN
           Time for bed!
                         
                         
          INT. BOUDOIR, SAME TIME--NIGHT
                         
          Karenin comes to put his hand on Anna's shoulder.
                         
                          ANNA
           I'm writing to Dolly . . . and to Kitty.
                         
                          KARENIN
           You are . . . good.
                         
          Anna shakes her head and clasps his hand.
                         
                         
                         
                         
                          61
          INT. BEDROOM, SAME TIME--NIGHT
                         
          Candles each side of the bed. Karenin cracks his knuckles. He unlocks a
          drawer and opens a tin box lying in the drawer.
                         
          Anna, disrobing, registers these sounds.
                         
                          KARENIN
           What are they saying in Moscow about the
           new Statute?
                         
                          ANNA
           What new Statute?
                         
          Karenin takes a contraceptive sheath, made from animal intestine (re-
          usable) from the tin.
                         
                          KARENIN
           The new Statute I carried in Council.
                         
          Anna blows her candle out and gets into bed.
                         
                          ANNA
           No one mentioned it.
                         
                          KARENIN
           Ah. Really?
                         
          He comes to bed in his nightshirt.
                         
                          KARENIN (CONT'D)
           Here it made quite a sensation.
                         
          He gets into bed. Anna waits dead-eyed. Karenin blows his candle out.
                         
                         
                         
                          62
          INT. KITTY'S ROOM, SHCHERBATSKY HOUSE,
                          MOSCOW--DAY
                         
          Kitty, a hollow-eyed version of herself, in a demure nightdress, sits upright
          on a chaise longue with her legs stretched out. The Family Doctor deferen-
          tially removes one of her slippers as though it were an intimate garment.
                         
                          FAMILY DOCTOR
           Forgive me, Princess, but I must . . .
                         
          With a silver "fork" the Doctor tests the sole of her foot for a reflex. Kitty
          is miserably going along with a farce she despises.
                         
                         
          INT. OUTSIDE KITTY'S ROOM, SAME TIME--DAY
                         
          The Prince and Princess are hovering. The Princess flutters with anxiety,
          the Prince is in a temper.
                         
                          PRINCE SHCHERBATSKY
           Am I the only one who knows what's wrong
           with her?
                         
          But a Celebrity Doctor, as shiny as his own gold watch which he is check-
          ing, is bearing down on them, riding over a Footman's attempt to announce
          him.
                         
                          PRINCESS SHCHERBATSKY
           Oh, thank God, doctor--my friends say
           you're the only one who can save her!
                         
                          CELEBRITY DOCTOR
           Possibly, Princess, possibly! At your service,
           Your Excellencies. Where is the patient?
                         
                         
                         
                          63
          INT. KITTY'S ROOM, SAME TIME--DAY
                         
          Kitty is sobbing with shame: the Celebrity Doctor has stripped her to the
          waist and is tapping her chest. The Family Doctor can't bear it and excuses
          himself.
                         
                          CELEBRITY DOCTOR
           Come, come, Princess, we are not backward
           people--I handle naked bodies every day.
           Deep breath now . . .
                         
                         
          INT. OUTSIDE KITTY'S ROOM, SAME TIME--DAY
                         
          The Family Doctor and the parents are in a huddle. The Prince is apoplectic.
                         
                          PRINCE SHCHERBATSKY
           By God. I'll challenge the scoundrel!
                         
                          FAMILY DOCTOR
           It's the modern way . . .
                         
                          PRINCESS SHCHERBATSKY
           (to the Prince)
           You're not a doctor!
                         
                          FAMILY DOCTOR
           Her symptoms . . . loss of appetite, fast
                          PULSE--
                         
                          PRINCE SHCHERBATSKY
           Well, whose pulse wouldn't be fast if some
           brute of a--
                         
          The Celebrity Doctor comes briskly out of Kitty's room, checking his watch.
                         
                         
                          64
                          CELEBRITY DOCTOR
           Nervous palpitations. We must treat the
           nerves. A tubercular cavity is suspected, too
           soon to tell. Soden water every two hours. I
           must see her again tomorrow.
                          (HE BOWS)
           Prince! Princess!
                         
          He's gone. The Prince enters Kitty's room.
                         
                         
          INT. KITTY'S ROOM, SAME TIME--DAY
                         
          Kitty is humiliated and triple-wrapped against the violation of her bosom.
                         
                          PRINCE SHCHERBATSKY
           Don't you fret, my little Kate! You'll wake
           up one fine morning and say to yourself--"I
           feel well and happy and I'll go out for a
           walk with Papa!"
                         
          The Prince is mortified when Kitty's sobs redouble.
                         
                         
          INT. ART EXHIBITION, ST. PETERSBURG--DAY
                         
          The social set Anna now moves in is the brilliant circle with connections
          to the Court on one hand and to the demi-monde of artists on the other. A
          leading light of this set is Princess Betsy Tverskaya, a rich society beauty.
          Betsy's immediate circle includes Tuskevich, her "admirer."
                         
          Anna lifts her eyes to see Vronsky in front of her, talking to Betsy. Vronsky
          sees Anna and bows. She acknowledges him and kisses Betsy, and moves
          on, studying the next picture. Vronsky watches Anna move on. Betsy cocks
          an eye at him.
                         
                         
                          65
          INT. PIANO RECITAL, ST. PETERSBURG--DAY
                         
          A few rows of chairs in someone's reception room, a mixed audience of guests,
          a flashy pianist . . . Betsy with a "toy" dog on her lap, Tuskevich on one
          side, Anna on the other.
                         
          The dog yaps and sneezes. Betsy hands the dog to Tuskevich, who goes to
          exit with the dog. As Tuskevich leaves, Vronsky comes in. Anna sees him.
          She turns back to the piano. Betsy glances at her.
                         
                         
          EXT. PARK, ST. PETERSBURG--DAY
                         
          Anna and Betsy, on a bright snow-white day, are being driven through a
          park in Betsy's smart equipage . . . towards a horseman walking towards
          them: Vronsky salutes the little carriage as it trots by him. Anna keeps
          looking straight ahead. Betsy acknowledges Vronsky's salute.
                         
                          BETSY
           I want to give a small dinner before the opera.
           Is there anyone you would like me to ask?
                         
                          ANNA
           Yes . . . Yes, the Metropolitan Bishop of St.
           Petersburg.
                         
          Betsy laughs.
                         
                         
          INT. STAIRS AND ENTRANCE HALL, KARENIN
                          HOUSE--NIGHT
                         
          Annushka puts Anna's opera cloak over her shoulders, while Korney stands
          ready with Karenin's cloak and opera hat. Karenin comes down the stairs
          to join Anna. Kapitonich stands ready to let them out.
                         
                         
                          66
                          KARENIN
           Countess Lydia tells me you haven't been to
           one of her evenings since you returned.
                         
                          ANNA
           The last one was to meet a missionary, the
           one before was for a lecture on the union of
           the Greek and Roman churches.
                          (CLIMBS DOWN)
           I'm sorry--I know you're fond of her. Come
           on, or we'll be late.
                         
          Kapitonich opens the door to let them out.
                         
                         
          INT. "FRENCH THEATRE," ST. PETERSBURG--NIGHT
                         
          This is a small theatre with a "promenade" area where a group of Guards
          Officers of high and low rank mix together to enjoy the chanteuses, the
          comedians and the can-can girls. Vronsky is with his Commanding Officer,
          Colonel Demin.
                         
                          DEMIN
           Here's the thing, Vronsky. A posting has
           come up and there's a promotion in it for
           you.
                         
                          VRONSKY
           Thank you, sir.
                         
                          DEMIN
           The garrison in Tashkent.
                         
                         
                         
                         
                          67
                          VRONSKY
           Tashkent? But . . . I would like to stay in
           Peter, sir, if you don't mind.
                         
                          DEMIN
           I don't mind. But your mother . . .
                         
          The can-can music starts up, to many cheers. Demin claps enthusiastically.
          Vronsky is angry.
                         
                         
          INT. OPERA HOUSE, ST. PETERSBURG--NIGHT
                         
          An attendant takes Vronsky's coat and gives him a token for it. There is
          a performance going on within, resolving into applause as he mounts the
          stairs.
                         
          Karenin, an escapee looking at his pocket watch, comes down the stairs, goes
          down past Vronsky, looks back at him for a moment, and continues.
                         
                         
          INT. BETSY'S OPERA BOX--NIGHT
                         
          Vronsky enters the box as the performance prepares to resume. It is the
          Tverskoy box, occupied by Princess Betsy and her husband, who is likeable,
          overweight and, strangely enough, looking at an antiquarian book; wear-
          ing white gloves. Vronsky bows to them and sits down next to Betsy. He
          takes her opera glasses and looks through them at the Karenin box.
                         
                          BETSY
           You didn't come to my dinner.
                         
                          VRONSKY
           I had to see my Commanding Officer.
                         
                         
                         
                          68
                          BETSY
           "She" didn't come either.
                         
          Vronsky watches Anna through the glasses. Countess Lydia Ivanovna is
          next to her. Lydia is in her forties, sallow, no beauty, sincerely religious,
          and determined.
                         
                         
          INT. KARENIN OPERA BOX, SAME TIME--NIGHT
                         
                          LYDIA
           . . . work never ceases for great men.
                         
           Your husband is a saint and we must all
           cherish him for Russia's sake.
                         
          Anna winces a smile.
                         
                          LYDIA (CONT'D)
           I hope you can come on afterwards--Father
           Kristof's report on the Chinese mission will
           be with lantern slides.
                         
                          ANNA
           I'm expected at the Tverskoys.
                         
                          LYDIA
           No doubt, but I'm sure Princess Betsy can
           wait for you, my dear.
                         
          Anna glances at Betsy's box and sees Vronsky there. The opera resumes.
                         
                          ANNA
           Yes. In fact, I think I won't go to Betsy's.
                         
                         
                         
                          69
          INT. TVERSKOY OPERA BOX, SAME TIME--NIGHT
                         
          Vronsky looks through Betsy's glasses.
                         
                          BETSY
           You're caught.
                         
                          VRONSKY
           I'm afraid I am becoming ridiculous.
                         
                         
          INT. BETSY'S RECEPTION ROOMS, TVERSKOY
                          HOUSE--DAY
                         
          Discreet Footmen move chairs to accommodate the guests who move to join
          one of the conversation circles that make a buzz in the room. Betsy sits by
          the samovar with her little court, including Tuskevich. The Guests include
          the Princess Myagkaya, stout, red-faced, outspoken, and two Society ladies,
          Lisa Merkalova and "Anna's Friend."
                         
          Vronsky arrives.
                         
                          LISA MERKALOVA
           Now, there's a phenomenon, look-- Anna's
           shadow has arrived before Anna!
                         
                          ANNA'S FRIEND
           I'm Anna's friend . . . but this making-up-
           one's-mind-to-it in public is not polite to a
           distinguished man like Karenin.
                         
                          PRINCESS MYAGKAYA
           In my opinion Karenin is a fool, and Anna
           is the best of us.
                         
                         
                         
                          70
                          LISA MERKALOVA
           And we all love you for your contrary opin-
           ions, Princess.
                         
          Vronsky looks around. He knows everybody in the room.
                         
                          BETSY
           Alexei . . . You look desperate. That's not
           attractive.
                         
                          VRONSKY
           I'm losing hope.
                         
                          BETSY
           Hope of what? Persuading a virtuous
           woman to break her marriage vows?
                         
                          VRONSKY
           And how is Tuskevich?
                         
                          BETSY
           That's not attractive either. Besides, I was
           never virtuous.
                         
                          VRONSKY
           No--you're right. She won't come. I'm
           going home.
                         
                         
          EXT. TVERSKOY HOUSE, ST. PETERSBURG--NIGHT
                         
          The Karenin coach arrives. It's Anna arriving at Betsy's. She enters the
          house in almost unseemly haste. Several coaches are waiting.
                         
                         
                         
                         
                          71
          INT. CAB, ST. PETERSBURG, SAME TIME--NIGHT
                         
          Vronsky, in a state, lets himself be carried along. Then he changes his mind.
          He puts his head out of the window to shout to the Coachman.
                         
                          VRONSKY
           Turn round!
                         
                         
          INT. BETSY'S RECEPTION ROOMS, TVERSKOY
                          HOUSE--NIGHT
                         
          Anna enters. Faces turn to her. She glances around. She knows at once
          that Vronsky isn't there. Betsy beckons to her across the room. Anna, self-
          possessed, smiling, nodding to friends, pressing a hand held out to her,
          offering the other hand to be kissed, glides through a crowd of Betsy's guests.
                         
                          VOICES
           Wasn't Nilsson glorious? One sees that she
           has studied Kaulbach, of course . . .
                         
           There's something Louis Quinze about
           Tuskevich . . . as if he came with the
           furniture . . .
                         
          Betsy is smoking elegantly. She kisses Anna.
                         
                          BETSY
           He's gone. But you're just in time for the
           surprise.
                         
          There is a series of minor explosions outside and the darkness out there turns
          into an illuminated garden lit by fountains of fire, sprays of light. The
          guests react with cries of pleasure and applause.
                         
                         
                         
                          72
          Anna turns at once to the window near her, puts her face up against the
          glass, putting her hands to her temples as if to see the illuminations better.
                         
                         
                         REVERSE
                         
          Her self-possessed face, lit by fireworks, falls apart in misery.
                         
          The firework display continues for a short minute and is applauded. Betsy
          acknowledges the congratulations and sycophancy which are her due. Foot-
          men come through the room with trays of ices.
                         
          Anna is still at the window, unaware that there is only darkness outside.
          In the room, Betsy notes the oddity: Anna alone with her back to the room.
                         
                         
          REVERSE ON ANNA
                         
          Anna opens her eyes. She is lost for a moment, perplexed.
                         
           vronsky (O.C.)
           May I have the honour of bringing you an
           ice?
                         
          Anna turns, understanding nothing.
                         
                          VRONSKY (CONT'D)
           Ices are being served.
                         
                          ANNA
           I would prefer to try a cigarette.
                         
          She sits down. Vronsky takes out a cigarette case. He lights her cigarette.
          She tries it and coughs.
                         
                         
                         
                          73
                          VRONSKY
                          (IN FRENCH)
           Courage!
                         
          Anna smiles. Puffs delicately once.
                         
                          ANNA
           Thank you.
                         
          She gives the cigarette to him.
                         
                          ANNA (CONT'D)
           I'll try another one sometime.
                         
                          VRONSKY
           When?
                         
          She looks at him in surprise. He dunks the cigarette in an abandoned dish
          of ice cream.
                         
                          VRONSKY (CONT'D)
           Where?
                         
                          ANNA
           Just as I was thinking your manners have
           improved since Moscow. You behaved badly,
           very badly.
                         
                          VRONSKY
           And who was responsible for that?
                         
          Anna gets up and walks over to Betsy's chair.
                         
                          ANNA
           Give me a cup of tea.
                         
                         
                          74
          Betsy obediently gets up to fill a cup from the samovar. Vronsky follows
          Anna. This is watched by more than one guest. Betsy hands the cup
          to Anna.
                         
                          BETSY
           How nice--Alexei Aleksandrevich has
           arrived.
                         
          Karenin enters smiling. Lisa Merkalova and Anna's Friend share a
          delicious-malicious moment.
                         
                          LISA MERKALOVA
           I'm not sure my nerves can stand another
           Alexei at this moment.
                         
          As Betsy and Karenin move smilingly to greet each other, Karenin's radar
          picks up the two women's intimate laughter.
                         
          Karenin remains at apparent ease, as though unaware of people's glances
          at Vronsky and Anna, and he kisses Betsy's hand. Princess Myagkaya has
          meanwhile gone over to Anna. Anna likes her and is glad of the diversion.
                         
                          PRINCESS MYAGKAYA
           So the Schuzburgs asked us to dinner. The
           sauce was said to have cost a thousand rou-
           bles, and it was ghastly. We had to ask them
           back. I gave them a sauce that cost eighty-
           five kopeks and it was a triumph.
                         
          Anna and Vronsky laugh. Princess Myagkaya moves on.
                         
                          VRONSKY
           Were you glad to see me or not?
                         
                         
                         
                         
                          75
                          ANNA
           This must stop. You make me feel as if I
           were guilty of something.
                         
                          VRONSKY
           What do you want me to do?
                         
                          ANNA
           I want you to go to Moscow and beg Kitty
           to forgive you.
                         
                          VRONSKY
           No, that's not what you want. Moscow? I
           can do better than that. Tonight I refused a
           posting to Tashkent. I can change my mind,
           and you'll never see me again.
                         
                          ANNA
           If you have any thought for me, you will
           give me back my peace.
                         
                          VRONSKY
           I have no peace to give. There can be no
           peace for us--only misery or the greatest
           happiness. You are my whole life now.
                         
          She looks at him and nods slowly, as if in thought.
                         
          Betsy diplomatically leads Karenin to Anna.
                         
                          BETSY
           Your husband is impossible!-- his opinions
           are all wrong but he talks so brilliantly he
           wins every argument.
                         
          Anna looks up at her, hearing nothing.
                         
                         
                          76
                          ANNA
           What?
                         
          She notices Karenin, who kisses her hand. Vronsky acknowledges Karenin.
                         
                          KARENIN
           I called to take you home.
                         
                          ANNA
           No, I'm staying. Send the carriage back
           for me.
                         
                          KARENIN
           Of course.
                         
          He bows to Betsy. Ignoring Vronsky, he turns away.
                         
                         
                         LATER
                         
          Vronsky is with one group of guests, Anna with another. She is animated,
          excited, at a small table, involved in a game of cards-- which she wins, to
          local applause. She speaks a "must go" to Betsy, and swiftly goes to the door.
                         
                         
          INT. ENTRANCE HALL, TVERSKOY HOUSE--NIGHT
                         
          Dressed for outdoors, Anna comes down the staircase. The Doorkeeper sees
          her, opens the door and signals.
                         
                         
          EXT. TVERSKOY HOUSE, SAME TIME--NIGHT
                         
          The Karenin coach moves to the entrance door, which is held open by the
          Doorkeeper.
                         
                         
                          77
          INT. TVERSKOY HOUSE, SAME TIME--NIGHT
                         
          Anna hears hurried footsteps on the stairs. She hesitates. She continues
          towards the door. Vronsky catches up with her. The Doorkeeper holds the
          door open.
                         
                          VRONSKY
           Do you want me to go to Tashkent?
                         
                         
          EXT. TVERSKOY HOUSE, ST. PETERSBURG, SAME
                          TIME--NIGHT
                         
          The two horses are restless in the freezing air. Konrad looks to the open door.
          Nobody coming.
                         
                         
          INT. TVERSKOY HOUSE, ST. PETERSBURG, SAME
                          TIME--NIGHT
                         
                          VRONSKY
           So I'll go to Tashkent.
                         
                          ANNA
           No. I don't want you to go.
                         
          She turns and goes out. Vronsky follows her.
                         
                         
          EXT. TVERSKOY HOUSE, ST. PETERSBURG, SAME
                          TIME--NIGHT
                         
          Vronsky opens the carriage door for her. She gets into the coach, he closes the
          door. He watches the coach go. His face.
                         
                         
                         
                          78
          INT. KARENIN COACH, SAME TIME--NIGHT
                         
          Her face.
                         
                         
          INT. ENTRANCE HALL, KARENIN HOUSE--NIGHT
                         
          Kapitonich lets Anna in.
                         
                         
          INT. KARENIN'S DRESSING ROOM, KARENIN
                          HOUSE--NIGHT
                         
          Karenin, reading by candlelight in his dressing gown, hears the sounds of
          Anna's return, all the way to her entrance. He cracks his knuckles.
                         
                          ANNA
           Waiting up? How unlike you!
                         
                          KARENIN
           Yes, I stayed up to talk to you.
                         
          Anna keeps going, to her dressing room/boudoir.
                         
                          ANNA
           What about? It's late. Where's Annushka?
                         
          He waits for her to return without her cloak.
                         
                          KARENIN
           I sent her off.
                         
                          ANNA
           Well, if you want to talk, but we should go
           to bed.
                         
                         
                          79
                          KARENIN
          I have to warn you about something.
                         
                          ANNA
          Warn me? It's really rather late . . .
                         
                          KARENIN
          I wish to warn you that you may inadver-
          tently, by indiscretion and carelessness, give
          the world occasion to talk about you.
                         
                          ANNA
          I am not a committee. Please say what you
          want to tell me.
                         
                          KARENIN
          You and Count Vronsky attracted attention
          tonight.
                         
                          ANNA
          You don't like it when I don't talk to people,
          and you don't like it when I do.
                         
                          KARENIN
          I didn't notice anything, myself. But I saw
          that everyone else noticed. I consider jeal-
          ousy to be insulting to you and degrading
          to me. I have no right to inquire into your
          feelings. They concern only your conscience.
          But I'm your husband and I love you. It's
          my duty to remind you that we are bound
          together by God, and this bond can only be
          broken by a crime against God.
                         
                         
                         
                         
                          80
                          ANNA
           I have nothing to say to you, and I'm tired.
                         
                          KARENIN
           And you have a son.
                         
          She returns to the boudoir. After a moment he follows.
                         
                         
          INT. ANNA'S BOUDOIR, KARENIN HOUSE, SAME
                          TIME--NIGHT
                         
          Karenin finds her in her underwear, throwing aside her dress. He apolo-
          gises for that.
                         
                          KARENIN
           Forgive me.
                          (TURNING ASIDE)
           If I am wrong, I ask your pardon.
                         
                          ANNA
                          (LIGHTLY)
           I don't know what you're talking about, and
           it's really too late for this. Excuse me, please.
                         
          Because she wants to undress, Karenin leaves her.
                         
                         
          INT. BEDROOM, KARENIN'S HOUSE, SAME TIME--NIGHT
                         
          Anna lies in bed next to Karenin, elated.
                         
                          ANNA
                          (ALMOST INAUDIBLE)
           Too late.
                         
                         
                          81
                         CLOSE--
                         
          In the next instant, seemingly in her own bed, she gasps and jerks as though
          her body has taken a blow.
                         
          The CUTS are now between a fragmented narrative of voracious sex ("SEX AS
          BEFORE") and "prelude to sex," this being a sequence of shots starting with:--
                         
                         
          EXT. VRONSKY APARTMENT, DAY
                         
          Anna arrives, heavily veiled, by cab. She enters the building.
                         
                         
          SEX AS BEFORE
                         
          INT. VRONSKY APARTMENT, SAME TIME--DAY
                         
          Vronsky opens his door to Anna. They don't speak. He takes her hand and
          brings her in.
                         
                         
          SEX AS BEFORE
                         
          INT. VRONSKY'S APARTMENT, SAME TIME--DAY
                         
          Vronsky leads Anna through the apartment to the bedroom.
                         
                         
          SEX AS BEFORE
                         
          INT. VRONSKY'S BEDROOM, SAME TIME--DAY
                         
          Vronsky takes off Anna's outer clothes, slowly and carefully, starting with
          her hat and veil.
                         
                         
                          82
          SEX AS BEFORE
                         
          INT. VRONSKY'S BEDROOM, SAME TIME--DAY
                         
          Anna, in underclothes, unbuttons Vronsky's shirt.
                         
                         
          SEX AS BEFORE
                         
          INT. VRONSKY'S BEDROOM, SAME TIME--DAY
                         
          Anna and Vronsky are standing kissing passionately. He has no shirt.
                         
                         
          SEX AS BEFORE
                         
          INT. VRONSKY'S BEDROOM, SAME TIME--DAY
                         
          Anna ends up half off the edge of Vronsky's bed, climaxing upside down
          and falling to the floor. Vronsky, also half off the bed, looks down at her.
          He reaches down for her. She grasps hold of his hand, huddled, hugs it to
          her, distressed to tears.
                         
                          ANNA
           Oh God forgive me. It's the end of
           everything--I've got nothing left now, only
           you. Remember that.
                         
                          VRONSKY
           Anna . . . Anna . . . how can I not remem-
           ber? You're my happiness.
                         
          He draws her back on to the bed, kisses her face, her shoulder . . .
                         
                         
                         
                         
                          83
                          ANNA
           Happiness! You murdered my happiness.
                         
          She tries to leave but he attacks her as a lover, and she gives way, responding.
                         
                          ANNA (CONT'D)
           Murderer. Murderer. Go on. Go on. Go on.
                         
          She starts hitting him.
                         
                          ANNA (CONT'D)
           Yes. Go on. Go on. Go on.
                         
                         
          EXT. SPRING MELT (POKROVSKOE)--DAY
                         
          In sunshine, a large chunk of ice loses its purchase on winter and goes
          floating along a stream of tiny ice floes between grassy banks almost free of
          snow, with early aconites showing.
                         
                         
          EXT. POKROVSKOE--DAY
                         
          The icy stream flows under a footbridge which has a broken handrail.
          Vasili, the steward, is on the bridge with a Carpenter. Levin, on horseback, is
          displeased.
                         
                          LEVIN
           I thought that had been done.
                         
                          VASILI
           I gave the order. What can you do with
           these people?
                         
          Levin rides on, into an expanded prospect of fields and woods, snow on the ground.
                         
                         
                          84
                         LATER
                         
          When Levin gets in view of the house, he is puzzled by the distant sight of
          a three-horse sledge arriving.
                         
                         
          INT. DINING ROOM, POKROVSKOE--DAY
                         
          The new arrival is Oblonsky, enjoying his food.
                         
                          OBLONSKY
           Ah--potage aux choux a la Russe!
                         
          Agafia comes in with the roast fowl.
                         
                          OBLONSKY (CONT'D)
           Agafia!--if you opened up in Moscow,
           l'Angleterre would go out of business.
                         
           Do you want news of Moscow?
                         
                          LEVIN
           Of Babylon? No.
                         
                          OBLONSKY
           You're right, what do you care? You love the
           country--you've got it. You love agricultur-
           ing, and, Lord knows, you've got it. You love
           shooting--you've got it. You've got every-
           thing you want!
                         
          Agafia, leaving, throws Levin a look (no wife).
                         
                          LEVIN
           All right, go on, then. Have you stopped
           stealing bread rolls?
                         
                         
                          85
                          OBLONSKY
           Ballet girl, oriental type. How can I help it?
                         
                          LEVIN
           So, nothing new to tell me. How is--how
           are the Shcherbatskys?
                         
                          OBLONSKY
           You mean Kitty.
                         
                          LEVIN
           I . . . Is she engaged now?
                         
                          OBLONSKY
           No. Vronsky went back to St. Petersburg.
                         
          He waits for this to sink in.
                         
                          OBLONSKY (CONT'D)
           Kitty will be at Ergoshovo visiting Dolly in
           the summer. You could . . .
                         
                          LEVIN
           Oh yes, as if I had time in the summer! And
           I've got extra land this year at Kashin for
           the haymaking.
                         
                          OBLONSKY
           Kashin? That's on the Ergoshovo road, isn't
           it? Won't you call when Kitty is there?
                         
                          LEVIN
                          (HEATEDLY)
           Especially not then. I humiliated myself once.
                         
          Now it's a row.
                         
                         
                          86
                          OBLONSKY
           Damn you, Kostya, you love Kitty and you
           can't forgive her because, first, you funked
           it, then you bungled it, then you ran away
           from an eighteen-year-old girl who was
           made a fool of by a uniform. It's Kitty I'm
           sorry for--not you!
                         
                          LEVIN
           Her heart told her no. Did you come to
           shoot snipe or criticize me?
                         
                         
          EXT. COPSE (POKROVSKOE)-- LAST LIGHT
                         
          Levin and Oblonsky, with Laska, wait with their guns, a few yards apart.
          Levin has calmed down.
                         
                          LEVIN
           For you, getting married is . . . a social engage-
           ment. Not for me. For me, it's the condition of
           personal happiness and living the right way.
           I'll never again be carried away by passion. I
           renounce it. I'll have to find another way . . .
                         
                          OBLONSKY
           Look out--here they come!
                         
          A couple of snipe come drumming over the trees. The men fire simultane-
          ously. One snipe falls.
                         
                          OBLONSKY (CONT'D)
           Bad luck!
                         
          Oblonsky laughs. Despite himself, Levin laughs too. Laska retrieves the bird.
                         
                         
                          87
          INT. DAY NURSERY, OBLONSKY HOUSE--DAY
                         
                         SPRING
                         
          Dolly has had her baby. She is holding the infant, having just finished
          feeding him. Kitty is with her.
                         
                          DOLLY
           There. Oh, I'm sore with his feeding! Would
           you like to hold him?
                         
          Dolly gives the baby to Kitty, who takes him almost unwillingly. Dolly
          buttons herself. Kitty's maternal instinct won't engage. Dolly notes it.
                         
                          DOLLY (CONT'D)
           Well, don't hold him like a parcel . . . It's
           Aunt Kitty, darling. . . . Little face . . .
           little fingers . . . look at you . . . Doesn't
           he make you ashamed of dwelling on your
           troubles . . . ?
                         
                          KITTY
           I have no troubles.
                         
                          DOLLY
           That man wasn't worth the tears, believe me.
                         
                          KITTY
                          (IRRITATED)
           I don't care about him. I don't even think
           about him. Or her. Except to hate her.
                         
                          DOLLY
           Then we'll never speak of it again.
                         
          Dolly relieves Kitty of the baby.
                         
                         
                          88
                          DOLLY (CONT'D)
           There are better men waiting for you. Stiva
           says . . . Kitty, my lamb, did Konstantin
           Levin . . . ?
                         
                          KITTY
                          ( FLARES)
           What has Levin got to do with it? Anyway,
           I'll never get married. The whole business
           of . . . it's become disgusting to me . . . and
           look what it's done for you! Why do they
           call it love?
                         
                          DOLLY
           Because it's love.
                         
          Lovingly, she settles the baby in his crib, her face filled with tender joy at
          the bargain.
                         
                         
          EXT. IDYLLIC COUNTRYSIDE--DAY
                         
                         SPRING
                         
          A lovers' idyll, by a stream on a warm day. Anna, lightly dressed, smoking
          a cigarette, watches Vronsky fill his wineglass from a tethered bottle in the
          stream. There is a pony trap which brought them. He comes back to sit by
          her. She kisses him.
                         
                          ANNA
           I want you to. I don't care about it.
                         
                          VRONSKY
           You should care. You're not supposed to.
                         
                         
                         
                          89
                          ANNA
           Pooh! Who says?
                         
                          VRONSKY
           Everybody. Doctors.
                         
          She laughs and throws her cigarette into the stream.
                         
                          ANNA
           You're squeamish. You a soldier! Would you
           faint?
                         
                          VRONSKY
           Anyway, someone might be watching.
                         
          Anna looks all around. Vast emptiness. She lifts a dock leaf to look under
          it. She looks up at the sky.
                         
                          ANNA
           But I'm damned anyway.
                         
                          VRONSKY
           I'm not. I'm blessed.
                         
          Anna pushes him onto his back and straddles him.
                         
                          ANNA
           You love me.
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           Only me.
                         
                         
                         
                          90
                          VRONSKY
           No.
                         
                          ANNA
           Apart from Frou-Frou.
                         
                          VRONSKY
           Yes.
                         
          Anna holds his face between her hands and works her body on him.
                         
                          ANNA
           But me more than your horse?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           Are you happy?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           And you love me?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           How much?
                         
                          VRONSKY
           This much.
                         
          Anna drags the front of her skirts out of her way.
                         
                         
                          91
                          ANNA
           This much?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           This much?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           This much?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
           This much? And this much? And this
           much?
                         
                          VRONSKY
           Yes.
                         
                          ANNA
                          ( FIERCELY)
           And . . . this . . . much . . . ?
                         
          She falls on him. He strokes her hair.
                         
          Her hand comes into view, the index finger bloody. She carefully paints his
          lips with it. She kisses his lips clean, and rolls off him onto her back.
                         
                         
                         
                         
                          92
                          ANNA (CONT'D)
           So this is love. This.
                         
                         
          INT. KARENIN'S STUDY, KARENIN HOUSE--DAY
                         
                         SUMMER
                         
          Korney brings Countess Lydia. Karenin comes from behind his desk to
          invite her to a chair.
                         
                          KARENIN
           Countess . . . I thought you would be at
           Peterhof now.
                         
                          LYDIA
           I've come from there. I'm distressed that you
           haven't taken your usual house this year.
                         
                          KARENIN
           Anna wanted a change. She is spending the
           summer at Tsarskoe.
                         
                          LYDIA
           Near Princess Betsy. And . . .
                         
          Karenin waits.
                         
                          LYDIA (CONT'D)
           The Guards are in summer camp at
           Tsarskoe.
                         
          Karenin waits.
                         
                         
                         
                         
                          93
                          LYDIA (CONT'D)
           Alexei Alexandrovich, forgive me but you
           are too tolerant! Your wife . . .
                         
          Karenin affects surprise.
                         
                          KARENIN
           Oh, is this about my wife?
                         
          He smiles at her.
                         
                          KARENIN (CONT'D)
           My wife is beyond reproach. She is, after
           all, my wife.
                         
          Countess Lydia gets the message. She rises to go. Karenin kisses her hand
          and accompanies her to the door. She leaves him, and his social mask gives
          way to his disturbance.
                         
                         
          INT. DEMIN'S HOUSE, TSARSKOE--NIGHT
                         
          The Commanding Officer is throwing a party for his officers: serious drink-
          ing, Soldier Servants, a crowded table on the large verandah, Soldier Sing-
          ers in white linen tunics performing operetta and folk songs. Vronsky, in
          party spirit, is with Petritsky and another friend, Yashvin, singing along.
                         
          An officer we don't know is, surprisingly, hailed as "Vronsky!"--he's
          Vronsky's elder brother, Alexander. He gestures "Later!" and goes to Vron-
          sky. The brothers embrace.
                         
                          ALEXANDER
           Alyosha . . . a message from Maman. Her
           friend Princess Sorokina has a house here,
           and a virgin daughter, that's not part of the
                         
                         
                          94
           message, but they'll all be at the races and
           you're expected to supper afterwards.
                         
          The song ends and Demin, half drunk, climbs on the table, shouts for silence
          and a toast.
                         
                          DEMIN
           Gentlemen--I give you--the regiment!
                         
          General uproar. "The regiment."
                         
                         
          EXT. DEMIN'S GARDEN, TSARSKOE--NIGHT
                         
          On a garden bench where the noise of the party is quieter, Vronsky and
          Alexander talk.
                         
                          ALEXANDER
           I heard you turned down a promotion.
                         
                          VRONSKY
           That was Maman interfering.
                         
                          ALEXANDER
           Yes. And now she's come up with a princess
           for you.
                          (SERIOUSLY)
           Alexei--we're brothers, so don't take
           offence. Getting married puts the pack on
           your back--it leaves your hands free for
           climbing the ladder. Getting serious about
           a married woman is like carrying your pack
           in your arms.
                         
                         
                         
                         
                          95
                          VRONSKY
           So they talk about me. I'm leaving, Sasha.
                         
                          ALEXANDER
           An assignation?
                         
                          VRONSKY
           Come on, I'll introduce you.
                         
                         
          EXT. STABLES, TSARSKOE--NIGHT
                         
          Vronsky with Alexander beside him clucks his tongue at the black opening
          of a stable and calls softly for Frou-Frou. There's a stir within and the
          mare's head appears. Vronsky opens the door.
                         
                          ALEXANDER
           Beautiful. A man would come to no harm.
           Do you think you'll win tomorrow?
                         
                          VRONSKY
           Makhotin's Gladiator is favourite, sixteen
           hands--Frou-Frou looks dainty beside
           him, but she's got heart. Haven't you, my
           darling?
                         
          He kisses Frou-Frou.
                         
                         
          EXT. MEADOW--DAY
                         
          Vronsky sees Anna before she sees him. He pauses to look at her, struck by
          her beauty, full of love for her. She is lost in thought.
                         
                         
                         
                         
                          96
                          VRONSKY
           Anna.
                         
          She has not been expecting him. She is concerned.
                         
                          ANNA
           Alexei, what is it?
                         
          He shakes his head: nothing. She comes to him and hides her face in his
          breast. He holds her tight, taking her hand and kissing it.
                         
                          VRONSKY
           I couldn't bear not to see you before the race.
                         
          She hugs him, kissing his tunic.
                         
                          VRONSKY (CONT'D)
           What were you thinking about?
                         
          She continues to hide her face. He lifts her face.
                         
                          VRONSKY (CONT'D)
           Tell me.
                         
                          ANNA
           I'm pregnant.
                         
          Vronsky presses her hand to his face.
                         
                          VRONSKY
           Ah . . . My love.
                         
          He kisses her brow and her eyes.
                         
                         
                         
                         
                          97
                          VRONSKY (CONT'D)
           Well, love was never a game to us. Here's an
           end to living in corners, existing day to day
           on lies. Yes, now we can be together.
                         
                          ANNA
           How can we, Alexei?
                         
                          VRONSKY
           Tell Karenin everything.
                         
                          ANNA
           Do you think my husband will make you a
           present of me?
                         
                          VRONSKY
           Leave him.
                         
                          ANNA
           Leave him and be your mistress?
                         
                          VRONSKY
           Yes. Run away.
                         
                          ANNA
           I would never see my son again. The laws
           are made by husbands and fathers.
                         
                          VRONSKY
           What, then? I'll never forgive myself for
           your unhappiness.
                         
          Anna looks into his face.
                         
                         
                         
                         
                          98
                          ANNA
           Unhappiness? I'm like a starving beggar
           who has been given food.
                         
          She smiles rapturously.
                         
                          ANNA (CONT'D)
           I unhappy? No, this is my happiness!
                         
          She kisses him deeply.
                         
                         
          EXT. MAZE, KARENIN'S RENTED HOUSE,
                          TSARSKOE--DAY
                         
          It's a good maze. Anna and Serozha are running, laughing, between the
          hedges. It's a game. She is trying to find her way to him, chasing him. A
          hedge divides them. Serozha darts away from her, runs into a dead end,
          doubles back. She spots him, follows him, and now he has eluded her again.
                         
          Serozha finds his way out of the maze and is confronted by Karenin.
                         
                          KARENIN
           How are you, young man? Your tutor
           doesn't seem to be in evidence. We'll have a
           look at your lesson books.
                         
          Anna, coming out of the maze, sees Karenin, recovers.
                         
                          ANNA
           Alexei!--you got away at last. Can you stay?
                         
                          KARENIN
           Why . . . ?
                         
          Serozha looks scared to tears. Anna kisses him.
                         
                         
                          99
                          ANNA
           Go and find Vasily Lukich.
                         
          Serozha runs into the house.
                         
                          ANNA (CONT'D)
           I have to change. Princess Betsy is sending
           her trap for me. Would you like to come?--
           she's taking me to watch the race.
                         
          Karenin smiles coldly.
                         
                          KARENIN
           Races, surely. No, I'll come on later, and
           then I must get back to town.
                         
          Anna returns to the house. She wipes her kissed hand on her skirt.
                         
                         
          EXT. THE RACES--DAY
                         
          This is a rough-and-ready racecourse but the venue for a high society occa-
          sion, with a grandstand for top people and a grander section, ornamented
          for greater comfort, for members of the Imperial family. It is also a fashion
          parade for some.
                         
          The racecourse itself is an oval approached by a straight. There are nine
          fences, water-jumps, etc., of various difficulty. The "jockeys" are officers in
          the Guards, the Hussars and other regiments.
                         
          Among them is Vronsky, attended by a Trainer who is fussing over Frou-
          Frou's bridle and calming her. Vronsky looks with interest at a big power-
          ful horse which must be Gladiator, with Captain Makhotin already in the
          saddle. Makhotin and Vronsky greet each other with a nod.
                         
                         
                         
                          100
                         KARENIN
                         
          -- arrives at the races . . . making his way towards the front, smiling,
          raising his hat to acquaintances . . . his eyes busy looking for his wife. He
          reaches the front and looks up at the Ladies' Stand.
                         
                         
          EXT. THE LADIES' STAND, THE RACES, SAME TIME--
                          DAY
                         
          Anna and Betsy are here, and, not far away, so are Countess Vronsky and
          the Princesses Sorokina: the mother is a fading fortyish; the daughter is
          eighteen, blonde and pretty.
                         
          Below the ladies section is a planked standing area for gentlemen, who also
          may stand to watch the races from the stepped aisle of the seated section.
          Soldiers, Horse People and Locals watch from the turf.
                         
          A race is flowing towards the winning post, with accompanying crowd reac-
          tion, but it is clear from Anna's detachment, exchanging chat with Betsy,
          that this is not Vronsky's race.
                         
                         
                         KARENIN
                         
          --looks up to the ladies' stand. Betsy smiles at him in greeting, but Anna
          seems unaware.
                         
          Countess Vronsky appraises the young princess.
                         
                          COUNTESS VRONSKY
           Exquisite creature . . . you really ought to be
           the spoil of victory today . . .
                         
          The young princess smiles at her. Countess Vronsky turns her glasses towards
          the Starting Post.
                         
                         
                          101
          EXT. NEAR THE STARTING POST, THE RACES, SAME
                          TIME--DAY
                         
          . . . Vronsky mounts Frou-Frou. The Riders move to the starting line.
                         
                         
                         KARENIN
                         
          . . . watches Anna who is looking through her glasses towards the Starting
          Post while the current race finishes to cheers.
                         
                         
          KARENIN, SMILING AROUND, WATCHES AS:--
                         
          Anna's anxious attention turns to a horse and rider who fell further
          down the course-- and to the ambulance wagon (with a red cross sewn
          on it) . . .
                         
          Karenin mounts the steps of the aisle, raising his hat to ladies he knows.
          Anna ignores him.
                         
          On the wooden boards below, where gentlemen are watching, Oblonsky calls
          up to Betsy.
                         
                          OBLONSKY
           Princess! A bet! What do you fancy in the
           next?
                         
                          BETSY
           Kusolev.
                         
                          OBLONSKY
           I'm on Vronsky. A pair of gloves?
                         
                         
                         
                         
                          102
                          BETSY
           Done!
                          (TO ANNA)
           Alexander Vronsky . . .
                         
          In the aisle at the top of the stand, Karenin watches as:--
                         
          Vronsky's brother Alexander, escorting his wife, Varya, bows to Anna and
          Betsy, but significantly Varya succeeds in not noticing them.
                         
                         
          EXT. STARTING POST, THE RACES, SAME TIME--DAY
                         
          The riders line up . . . and they're off.
                         
                         
                         VRONSKY'S POV
                         
          The stands and spectators are distant, the first fence coming at him, horses
          on either side. His neighbour falls at the fence but Frou-Frou is clear, with
          Gladiator half a length in front. The next fence is coming up. Gladiator
          and Frou-Frou jump cleanly but a following horse falls badly.
                         
                         
          EXT. LADIES' STAND, THE RACES, SAME TIME--DAY
                         
          Spectators on either side of Anna and those behind and in front collectively react.
                         
                         
          KARENIN SEES THAT:
                         
          Anna reacts not at all. Her gaze through her glasses stays unwavering
          on Vronsky. Karenin notes this, and from then on his attention is fixed on
          Anna. When the horses come opposite the stand, she lowers her glasses and
          follows Frou-Frou taking the lead from Gladiator.
                         
                         
                          103
                         VRONSKY
                         
          -- eases Frou-Frou past Gladiator. The horses take the next jump.
                         
                         
                         LADIES' STAND
                         
          With one hand Anna grips her folded fan.
                         
          Karenin's face is a mask as he watches Anna unconsciously half-destroying
          it. She raises her glasses.
                         
                         
          ANNA'S POV THROUGH GLASSES
                         
          Frou-Frou approaches the last fence with Gladiator half a length behind,
          on the near side to Anna.
                         
                         
                         VRONSKY
                         
          -- working the reins, rising and falling in rhythm with the horse, looks
          ahead to the winning post, and before knowing it he makes an error, losing
          the rhythm, dropping back into the saddle and raising the horse's head, just
          as Frou-Frou takes off.
                         
                         
          ANNA'S POV (THROUGH GLASSES)
                         
          Frou-Frou rises, Gladiator rises. Frou-Frou disappears. Gladiator clears
          the fence in Anna's foreground. Simultaneously, there are shrieks and
          exclamations all around her-- OFF CAMERA-- and the view through
          the glasses zigzags in search of Frou-Frou, impeded by horses jumping the
          fence.
                         
                         
                         
                          104
          She lowers the glasses and sees Frou-Frou on the ground, rolling over, and
          Vronsky on the ground.
                         
                         
                         COUNTESS VRONSKY
                         
          -- sees this, too, her mouth set tight with contempt.
                         
                         
                         KARENIN
                         
          --looks shocked. Almost in the same moment he hears Anna's anguished
          cry, conspicuous in the hubbub that follows the crowd's exclamation.
                         
                          ANNA
           Alexei . . . !
                         
                          KARENIN
           I'm here.
                         
          This is adroit. He comes down several steps and pushes through to offer his arm,
          but Anna has lost control, trying to escape like a bird beating against its cage.
                         
                          KARENIN (CONT'D)
           Would you like to leave?
                         
          Anna ignores him, puts her glasses to her eyes, searching out Vronsky.
                         
                         
          ON THE COURSE
                         
          Vronsky extricates himself from his broken horse and, in terrible recrimina-
          tion, tries to pull Frou-Frou to her feet by the reins. Frou-Frou struggles
          to get up but her back is broken. Officials, officers, and a doctor have come
          running.
                         
                         
                          105
                         ANNA
                         
          . . . sees an Officer hurrying to the Imperial party to report.
                         
                          ANNA
           Stiva! What are they saying?
                         
                          OBLONSKY
           Vronsky's unhurt--but the horse . . .
                         
          Anna relapses into sobs, attempting to hide her face behind her destroyed
          fan. Betsy gives Anna her fan.
                         
                         
                         VRONSKY
                         
          --is restrained by an Officer.
                         
                          OFFICER
           Her back's broken!
                         
          The Officer takes a pistol from his holster. Vronsky, enraged and in grief,
          takes the pistol from him.
                         
                         
                         KARENIN
                         
          --persists with Anna.
                         
                          KARENIN
           I'm asking you . . . if you wish to go . . .
                         
          He touches Anna's arm. She jerks it away.
                         
                         
                         
                         
                          106
                          ANNA
           No, leave me alone.
                         
                          BETSY
           I'll bring her home, Alexei.
                         
                          KARENIN
                          (SMILING POLITELY)
           Excuse me, Princess, but Anna is not well
           and I want her to come with me.
                         
          A gunshot is heard from the course. Anna turns her tear-streaked face
          towards it.
                         
                         
          INT. MOVING COACH--DAY
                         
          Anna's hysteria has solidified into a blank despair. Karenin seems to want
          to pretend that nothing important has happened.
                         
                          KARENIN
           You know . . . they say the Emperor dis-
           approves of the races . . . the danger of
           injury . . . but I . . .
                         
          Anna looks at him contemptuously.
                         
                          ANNA
           What?
                         
                          KARENIN
           I'm saying there is a value in manly sport,
           for the military--
                         
                         
                         
                         
                          107
                          ANNA
           I don't understand.
                         
                          KARENIN
           In my opinion, it's not the sport itself that's
           wrong, it's the spectacle, it's making a cruel
           spectacle out of--
                         
                          ANNA
           What are you talking about?
                         
          Karenin changes tack.
                         
                          KARENIN
           I have to tell you--
                         
                          ANNA
           Yes.
                         
                          KARENIN
           I have to tell you, you behaved improperly
           today.
                         
                          ANNA
           And how was that?
                         
          She has raised her voice. He raises a warning finger, and reaches to close the
          communication window behind the coachman's box.
                         
                          KARENIN
           By making plain your feelings when one of
           the riders fell. Your conduct was improper.
           It must not occur again. I have said it before.
                         
          Anna smiles faintly. He is misled by that.
                         
                         
                          108
                          KARENIN (CONT'D)
           You are going to say my concern is unneces-
           sary and ridiculous. You are my wife. I am
           wrong to think that . . . yes--perhaps I was
           mistaken.
                         
          Anna looks at him despairingly.
                         
                          ANNA
           No, you were not mistaken. I love him. I
           am his mistress. I can't bear you, I'm afraid
           of you, I hate you. Do what you like to me.
                         
          Karenin is literally winded--gasping for breath, slowly getting his breath-
          ing under control. Anna huddles away from him in her corner. Karenin
          recovers himself only to the point of sitting stock-still, looking at nothing,
          not moving.
                         
          The coach lurches, unbalancing him so that he is pushed against Anna. He
          recoils as if from a contamination.
                         
          The coach slows. The coach stops. A Servant comes to the coach door, opens
          the door.
                         
                          KARENIN
           Wait, please. Move away.
                         
          The Servant backs off.
                         
                          KARENIN (CONT'D)
           I will not have a scandal. Therefore . . . You
           will not see . . . this man again. You will
           behave in such a way that nothing is known
           against you, by society or by the servants.
           In return, you will keep the privileges of a
                         
                         
                          109
           wife--and the duties. Tomorrow you will
           return home. That is all.
                         
          Anna gets out of the coach and runs into the maze.
                         
                         
          EXT. MAZE--NIGHT
                         
          Anna comes to Vronsky. She is still shaken by the showdown with
          Karenin in his coach, but is now overtaken by concern for Vronsky after his
          fall.
                         
                          ANNA
           Are you hurt?
                         
          Vronsky shakes his head. He is moved by the sight of her, full of love and
          desire, but in her embrace he detects something new, a nervous exaltation.
                         
                          VRONSKY
           What's happened?
                         
                          ANNA
           I told him I'm your mistress.
                         
          Vronsky lifts her face, strokes her cheek. He waits.
                         
                          ANNA (CONT'D)
           He thinks I can give you up and go on
           living.
                         
          He embraces her for that, relieved, grateful, loving--understanding that
          she is not going to give him up.
                         
                         
                         
                         
                          110
                          VRONSKY
           No, you cannot.
                         
                         
          INT. (ST. PETERSBURG)--NIGHT
                         
          Imperial hands (the Tsar's for all we know) place over Karenin's head a
          broad red ribbon from which hangs a heavy medal. Karenin bows low.
                         
                         
          INT. IMPERIAL SALON, ST. PETERSBURG--NIGHT
                         
          At an ornate doorway a Major-Domo announces.
                         
                          MAJOR DOMO
           Their Excellencies Minister Karenin and
           Madame Karenin!
                         
          Karenin, wearing his medal, and Anna smile their way into a party, to a
          patter of polite applause. Further grandees are being announced, but are not
          applauded . . . Prince and Princess Berghatskoy . . . Ambassador Chamber-
          lain . . . Baron and Baroness Verdlov . . . Prince and Princess Tverskoy . . .
                         
                          BETSY
           Alexei Aleksandrevich . . . congratulations.
           You're the only man my husband would do
           this for.
                         
                          ANNA
           (To Prince Tverskoy)
           Tell me your latest find for your library.
                         
                          PRINCE TVERSKOY
           Not in front of the Princess.
                         
                         
                         
                          111
          Betsy draws Anna away for a moment.
                         
                          BETSY
           I can tell you're happy. You've put on a little
           weight.
                         
                          ANNA
           Both true.
                         
                         
          INT. SEROZHA'S BEDROOM, KARENIN'S HOUSE--
                          NIGHT
                         
          Anna, in the same dress, kisses Serozha tenderly so as not to wake him, and
          leaves the room.
                         
                         
          INT. BEDROOM LEVEL, KARENIN HOUSE, SAME
                          TIME--NIGHT
                         
          Anna enters the suite where Karenin, in his dressing gown, puts down his
          book. He is elated by his evening.
                         
                          KARENIN
           Time for bed!
                         
                         
          INT. BEDROOM, KARENIN HOUSE, ST. PETERSBURG--
                          NIGHT
                         
          Anna is in bed. Karenin is getting ready for bed. Anna listens apprehen-
          sively to the little noises of Karenin's pre-coital preparations.
                         
                         
                         
                         
                          112
                          KARENIN
           . . . not that I care for decorations but . . .
                         
                          ANNA
           Alexei . . . I can't . . . I'm sorry . . . But I'm
           his wife now.
           (she turns to him)
           I am having his child.
                         
          Karenin stares at her. He turns back to the open drawer and puts things
          back the way they were. He locks the drawer. He puts on his dressing gown
          and leaves the room. Anna waits a moment and follows him.
                         
                         
          INT. SITTING ROOM, KARENIN HOUSE, SAME TIME--
                          NIGHT
                         
          It's dark. Anna hears the crack of his knuckles and can see him faintly,
          sitting in the dark.
                         
                          KARENIN
           Tell me what I did to deserve this.
                         
                         
          EXT. HAYMAKING (KASHIN)--DAY
                         
          A prospect: next to a country road, a large expanse of meadow is being
          mown forty swathes at a time by forty mowers swinging their scythes almost
          in unison.
                         
          CLOSER--Levin is suffering but keeping up, bathed in perspiration. His
          place is behind an old man, Theodore, who is scything as if without effort.
          Just in time for Levin, Theodore calls a halt and takes Levin's scythe to
          sharpen it with a whetstone. Levin attracts a few grins and comments.
                         
                         
                         
                          113
                          YOUNG PEASANT
           Konstantin Dmitrich, you'll know your
           rows when the field's all done!
                         
          Levin's row has stalks of differing heights between the even swathes on
          either side. There is some laughter, but the men are uneasy.
                         
                         
          EXT. HAYMAKING (KASHIN)-- SUNDOWN
                         
          It's time to stop for the day. More tomorrow. The Mowers with their scythes
          walk back across the large meadow of cut swathes. From the other direc-
          tion, a crowd of Village Women are coming to meet them carrying food and
          drink.
                         
                         
          EXT. HAYMAKING (KASHIN)--DUSK
                         
          A fire has been lit. The Mowers eat their meal in the company of women.
          Serafina tends to a cooking pot in the firelight. Levin watches her discreetly.
          He has settled down at a discreet distance from the men. His attention
          is caught by a grown-up Boy and his young Wife who have chosen to sit
          slightly apart. He is charmed by them, watching the girl serve her husband.
                         
          Theodore comes to Levin with a jug. Levin takes a swig.
                         
                          LEVIN
           How many mowers is it, Theodore?
                         
                          THEODORE
           Forty-two, master. In your father's time it
           was work for two days for thirty men . . .
                          (SLYLY)
           . . . though he never picked up a scythe
           himself.
                         
                         
                          114
                          LEVIN
          The men don't like me for it.
                         
                          THEODORE
          They like what they're used to.
                         
                          LEVIN
          It settles me.
                         
                          THEODORE
          How is that, master?
                         
                          LEVIN
          When I'm mowing, I don't ask myself why
          I'm here.
                         
                          THEODORE
          You're here to be master, Konstantin Dmi-
          trich, to be your father's son, and father to a
          son who will be master after you, as it has
          always been by the grace of God.
                         
                          LEVIN
          My father owned you, Theodore. My grand-
          father owned your father. Owned you like
          chattels, to be bought and sold. Was that by
          the grace of God?
                         
                          THEODORE
          It was. Those were good times when your
          father had the keeping of us. That's my
          youngest you were looking at there. His
          young life is perilous now since the Free-
          dom came and work must be found.
                         
                         
                         
                          115
                          LEVIN
           It's true I was looking at him.
                         
                          THEODORE
                          (LAUGHS)
           At his wife too, I dare say.
                         
          Levin is abashed, found out.
                         
                          LEVIN
           They look happier than I've ever been. Is it
           living simply that I'm looking for?
                         
                         
          EXT. HAYMAKING (KASHIN)--NIGHT
                         
          Night under the stars. Some of the men have gone, some have settled in for
          the night. The cooking fire is burning out. Levin remains where he was,
          watching, thinking: drawn to "the simple life."
                         
                         
          EXT. HAYMAKING (KASHIN)--DAWN
                         
          Levin wakes . . . woken by hoofbeats and the jingle of harness.
                         
          Levin sees a coach coming towards him. The coach comes nearer, leather
          boxes strapped to the roof.
                         
          Levin sees that a young woman is looking out of the side window, holding
          on to the white ribbons of her bonnet. He sees that it is Kitty, on her way to
          Ergoshovo. (Princess Shcherbatsky is also inside, dozing.)
                         
          The coach passes on, leaving Levin lovelorn, the dawn light on him. The
          sight of Kitty has turned him round again.
                         
                         
                         
                          116
          INT. STATION, ST PETERSBURG--DAY
                         
                         AUTUMN
                         
          Vronsky stands at the entrance to the platform holding a bouquet, waiting
          for a train. He looks pretty fed up.
                         
                         
          INT. "FRENCH THEATRE," ST. PETERSBURG--NIGHT
                         
          As before, the set-up is a small stage, a small auditorium, and an area for
          drinking, cruising, etc., a combination of music hall and a bar with a few
          tables. Vronsky is here as the escort of a Foreign Prince (an Indian), watch-
          ing a "risqué" show with Can-Can Girls, much relished by the visitor.
                         
          Vronsky's glance casts about in the gloom. The champagne is flowing. Vron-
          sky spots a trio--Lisa Merkalova, Betsy, and Stremov, a politician and
          Karenin's rival.
                         
          Vronsky catches Betsy's eye. She beckons him. He excuses himself to the
          Foreign Prince, who doesn't notice, and goes over to the other table. Under
          the music, he is introduced to Stremov, and kisses the hands of the women.
          He takes the empty chair.
                         
                          VRONSKY
           He's some kind of prince at home. Exhaust-
           ing. Where is Tuskevitch this evening?
                         
                          BETSY
           Why ask me?
                         
          At which moment, Makhotin appears at the table. Vronsky relinquishes
          his chair.
                         
                         
                         
                         
                          117
                          VRONSKY
           Captain Makhotin . . .
                         
          Vronsky bows to the women.
                         
                          VRONSKY (CONT'D)
           I must leave you. I'm on duty tonight.
                         
                          MAKHOTIN
           Lucky woman. Give her my respects, and to
           Karenin if you see him.
                         
          Vronsky freezes in anger.
                         
                          BETSY
           Don't. Would you compromise me? And
           Lisa?
                         
          Lisa and Stremov are enjoying it. Vronsky turns away. The Foreign Prince
          is applauding enthusiastically when Vronsky rejoins him.
                         
                          STREMOV
                          (SMIRKS)
           I only say that a man who can't govern his
           wife has perhaps gone as far as he can go in
           government.
                         
                         
          INT. BEDROOM, VRONSKY'S FLAT, ST. PETERSBURG--
                          DAY
                         
          Vronsky wakes. He has fallen asleep in his clothes. A note has been deliv-
          ered, propped up by the bed. He reaches for it.
                         
                         
                         
                         
                          118
          EXT. KARENIN HOUSE, ST. PETERSBURG--NIGHT
                         
          A cab brings Vronsky. The Karenin coach is waiting outside. As Vronsky
          approaches the door, it opens and Kapitonich comes out with a folded rug.
          Kapitonich is wrong-footed by seeing him. Karenin comes out of the door,
          into the gaslight. When he sees Vronsky he hesitates for a fraction but con-
          tinues. Kapitonich is holding open the door of the coach. Vronsky bows,
          Karenin, expressionless, touches his hat and gets into the coach, taking the
          rug. Vronsky walks into the house as the coach moves off.
                         
                         
          INT. ENTRANCE HALL, KARENIN HOUSE, SAME
                          TIME--NIGHT
                         
          Kapitonich comes in, closing the door. Vronsky gives him his hat and coat.
                         
                          KAPITONICH
           Good evening, Your Excellency.
                         
          Kapitonich is uneasy. A Footman comes from a service door. He sees Vron-
          sky and looks to Kapitonich.
                         
                          VRONSKY
           I am expected.
                         
          Kapitonich nods to the Footman.
                         
                         
          INT. RECEPTION ROOM, KARENIN HOUSE, SAME
                          TIME--NIGHT
                         
          Anna, six months pregnant, is seated almost formally. The Footman lets
          Vronsky in and retires closing the door. Anna runs to Vronsky.
                         
                         
                         
                         
                          119
                          ANNA
           No!--no. I will not live like this!
                         
          He holds her, calming her, hushing her.
                         
          He leads her into a Winter Garden conservatory off the Reception Room.
                         
                          ANNA (CONT'D)
           Waiting hour after hour while you're drink-
           ing champagne with naked actresses--
           don't think I don't know!--Lisa Merkalova
           still calls on me.
                         
                          VRONSKY
           It's punishment enough that I'm on escort
           duty, without . . .
                         
                          ANNA
           Yes--I'm sorry--it's my demon, I can't help it.
                         
                          VRONSKY
           You wrote that you were ill.
                         
                          ANNA
           Did I? Well, I am!
                          (GAILY)
           But don't worry! It won't be for long, I'll
           soon be out of your way--soon!
                         
                          VRONSKY
           Stop.
                         
                          ANNA
           No, it's true. I was told it in a dream.
                         
                         
                         
                          120
                          VRONSKY
           There, it was only a bad dream.
                         
                          ANNA
           Yes, and I'm only going to die having your
           baby.
                         
                          VRONSKY
           That's all nonsense!
                         
          She kisses him all over his face.
                         
                          ANNA
           Tell me it is, tell me it is. You love me. Only me.
                         
                          VRONSKY
           Your note said your husband would be out.
                         
                          ANNA
           He was late. Serves him right. And you.
           Why do you call him my husband? He isn't
           my husband--he's a clock, a wooden doll--
                         
                          VRONSKY
           But it was awkward . . . a matter of your
           honour. You made an agreement.
                         
          Anna flares up again.
                         
                          ANNA
           Do you think of my honour when you're
           sharing whores with your Hindoo!
                         
                          VRONSKY
           Your demon again!
                         
                         
                          121
                          ANNA
           I'll be glad to die, before you start to hate me!
                         
                          VRONSKY
           Anna . . .
                         
          Anna gives a gasp. She laughs.
                         
                          ANNA
           Put your hand there. There! Did you feel
           him move!
                         
                         
          INT. COMMITTEE CHAMBER, ST. PETERSBURG--NIGHT
                         
          "The Committee" is in session. Stremov has the floor. He is referring to a
          map of Russia on an easel, splotched with colours. Karenin is there but not
          listening, his thoughts far away.
                         
                          STREMOV
           I must respectfully ask Minister Karenin
           whether his proposals for the regulation of
           these colourful Gypsy tribes, of these schol-
           arly God-fearing Jews, and of--but I'm
           afraid I have lost the Minister's attention . . .
                         
          All turn to look at Karenin, who sits staring at nothing, unaware even of
          the pause. He wakes. For a beat he hardly knows where he is.
                         
                         
          INT. ENTRANCE HALL, KARENIN HOUSE--NIGHT
                         
          Kapitonich lets Karenin in. Karenin is brisk.
                         
                         
                         
                         
                          122
                          KARENIN
           Who is here?
                         
                          KAPITONICH
           Only Madame, Your Excellency.
                         
          Karenin goes up the staircase. There is an urgency in him, a fury.
                         
                         
          INT. ANNA'S BOUDOIR, KARENIN HOUSE, SAME
                          TIME--NIGHT
                         
          Karenin walks in and goes to her bureau, empties out little drawers and
          receptacles, looking for the key to the main drawer. Anna comes in from the
          bedroom, alarmed, in her nightdress.
                         
                          ANNA
           I wanted to see him because . . .
                         
                          KARENIN
           I do not wish to be told why a woman wants
           to see her lover.
                         
          He pulls furiously at the locked drawer, then looks around for an implement.
                         
                          ANNA
           What are you . . . ?
                         
                          KARENIN
           I want his letters.
                         
          Karenin finds an iron bootjack. Anna tries to stop him. He pushes
          her aside and smashes the wood around the lock, then, struggling against her,
          he takes from the open drawer a pretty cardboard box, a good guess. He
          confirms that it contains letters.
                         
                         
                          123
                          KARENIN (CONT'D)
           I am going to Moscow tomorrow, and
           then to the provinces with a commission
           to investigate conditions among the Jews
           and Gypsies--whose conditions I infinitely
           prefer to my own. I will not return to this
           house until divorce has put you into the
           street. Meanwhile my son will be sent to
           live with my eldest sister.
                         
                          ANNA
                          (WAILS)
           Alexei . . . please . . . leave me Serozha . . . !
                         
          Karenin looks at her with contempt.
                         
                          KARENIN
           Do you think I would let you have my son?
           You are depraved, a woman without honour. I
           thank God the curse of love is lifted from me.
                         
          He walks out with the box of letters.
                         
                         
          EXT. STREET, MOSCOW--DAY
                         
                         WINTER AGAIN
                         
          Oblonsky arrives outside his office building in a cab. He enters.
                         
                         
          INT. GOVERNMENT BUILDING, MOSCOW--DAY
                         
          Saluted by the Hall Porter, Oblonsky mounts a semi-grand staircase and
          arrives at the entrance to his department. He goes in.
                         
                         
                          124
          INT. OUTER ROOM, OBLONSKY'S OFFICE, SAME
                          TIME--DAY
                         
          Levin stands up in his almost new, hardly used coat, top hat and boots.
                         
                          OBLONSKY
           Levin! What . . . ?
                         
          Levin smiles, hopefully, sheepish.
                         
                          LEVIN
           I need your advice . . .
                         
          It's a reprise. Oblonsky understands. He seizes Levin and kisses him.
                         
                         
          INT. RECEPTION ROOM, OBLONSKY HOUSE--NIGHT
                         
          A small group. Dolly is playing the piano. Kitty turns the pages for Dolly.
          The old Prince Shcherbatsky and the Princess are with Countess Nordston
          and Oblonsky.
                         
                          COUNTESS NORDSTON
           Well, is he coming?
                         
          Kitty, keeping half an eye on the door, sees Levin enter and misses the page-
          turn. Oblonsky goes to greet Levin.
                         
                          LEVIN
           Am I late? Who is here?
                         
                          OBLONSKY
           Of course you're late! Come and meet . . .
           Countess Nordston.
                         
                         
                         
                          125
                          COUNTESS NORDSTON
           (drily, amused)
           We nearly met at the Shcherbatsky's last winter.
                         
          Levin, puzzled, bows to her and to the Prince and Princess, who are respec-
          tively pleased and making the best of it, and then to Dolly who approaches.
                         
                          PRINCE SHCHERBATSKY
           Come into the fold . . .
                         
                          DOLLY
           Kitty is here.
                         
          Levin is shaken. Dolly leads him to Kitty, who is frightened, shy and
          shamefaced. Dolly leaves them.
                         
                          KITTY
           Konsantin . . . what a long time since we
           saw each other.
                         
                          LEVIN
           Since you saw me, but I saw you not so long
           ago.
                         
                          KITTY
           When?
                         
                          LEVIN
           You were driving to Ergoshovo . . . I was at
           Kashin for the haymaking.
                         
                          KITTY
           Oh, but why didn't you . . . ?
                         
          They are both embarrassed by the wrong step.
                         
                         
                          126
                          LEVIN
           I'm so glad to see you. You're just the same.
                         
                          KITTY
           I hope not--I was young and silly in those
           days.
                         
                          LEVIN
           Months and months ago!
                         
                          KITTY
           And you haven't changed.
                         
                          LEVIN
           No. I haven't.
                         
          Kitty looks up at him, decoding. They gauge each other shyly.
                         
                          OBLONSKY
           Permit me to announce--soup Marie Lou-
           ise, carp with asparagus, and roast beef! I
           went to the market in person!
                         
          But Matvey at that moment presents Oblonsky with a visiting card on a
          salver. Oblonsky reads it.
                         
                          OBLONSKY (CONT'D)
                          (TO MATVEY)
           An extra place.
                         
                         
          INT. ENTRANCE HALL, OBLONSKY HOUSE, SAME
                          TIME--NIGHT
                         
          The new arrival is Karenin. Oblonsky is pleased.
                         
                         
                          127
                          OBLONSKY
           Karenin!--I'm glad you came.
                         
                          KARENIN
           I've been on tour in the regions, a govern-
           ment commission . . . I'm sorry--I have
           come to tell you our connection must be
           severed. I'm going to divorce your sister.
                         
                          OBLONSKY
           Divorce? Dear me, what are you talking
           about? Don't be in a hurry. Stay to dinner
           and later talk it over with Dolly--
                         
                          KARENIN
           Prince Oblonsky, everything is over between
           our families.
                         
                          OBLONSKY
                          (REPROACHFULLY)
           Alexei . . . divorce is one thing but dinner
           is quite another.
                         
                         
          INT. DINING ROOM, OBLONSKY HOUSE--NIGHT
                         
          Dinner for eight-- clockwise, Oblonsky, Countess Nordston, Prince Shcher-
          batsky, Kitty, Karenin, Dolly, Levin and Princess Shcherbatsky.
                         
          Two Servants and Matvey serve at the table, clearing away the "carp with
          asparagus." The Princess is challenging Karenin.
                         
                          PRINCESS SHCHERBATSKY
           You Petersburgers think yourselves so de
           bon ton compared with dull, old-fashioned
                         
                         
                          128
           Moscow, but we know how to do things--
           only the other day, I hear, Vasya Pryachnikov
           fought a duel with Kvitsky and killed him.
                         
          Oblonskky attempts to divert the conversation.
                         
                          OBLONSKY
           Well, what's this government commission,
           Karenin . . . ?
                         
          But Karenin ignores him. Oblonsky looks on helplessly.
                         
                          KARENIN
           What was the challenge about?
                         
                          PRINCESS SHCHERBATSKY
           Pryachnikov's wife, naturally.
                         
                          PRINCE SHCHERBATSKY
           It was a matter of honour, defending a
           woman's honour . . .
                         
          Karenin remains cool.
                         
                          KARENIN
           It sounds like barbarism to me . . . And
           what if the lover had killed the husband?--
           would that have preserved the wife's honour
           too?
                         
                          COUNTESS NORDSTON
           Still, not many of us can say that our lover
           died for love!
                         
                         
                         
                         
                          129
                          KARENIN
           Love? Thou shall not covet thy neighbour's wife.
                         
                          COUNTESS NORDSTON
           Would you die for love, Konstantin Dmitrich?
                         
                          LEVIN
           I would. But not for my neighbour's wife.
                         
          Levin is nettled to find that he seems to have made a joke, for the Countess
          especially. Kitty remains serious, watching Levin, loving him.
                         
                          LEVIN (CONT'D)
           An impure love is not love, to me. To admire
           another man's wife is a pleasant thing, but
           sensual desire indulged for its own sake is
           greed, a kind of gluttony, and a misuse of
           something sacred which is given to us so
           that we may choose the one person with
           whom to fulfill our humanness. Otherwise
           we might as well be cattle.
                         
                          COUNTESS NORDSTON
           Ah, an idealist!
                         
          Reconciliatory laughter eases the atmosphere. Levin feels abashed at coming
          out of his shell. He steals a glance at Kitty and finds her looking at him.
          She smiles at him and drops her eyes.
                         
                         
          INT. RECEPTION ROOM, OBLONSKY HOUSE--NIGHT
                         
          The dinner party settles in.
                         
          Dolly and Karenin sit knee-to-knee in a corner.
                         
                         
                          130
                          DOLLY
           . . . but she will be nobody's wife, she'll be
           ruined.
                         
                          KARENIN
           I tried to save her. She chose ruin.
                         
                          DOLLY
           Alexei Aleksandrevich--look at me. You
           will have no peace of mind until you forgive
           her. It was Anna who taught me that.
                         
                          KARENIN
           I do not wish to forgive. I am not a cruel
           man. I have never hated anyone. But I hate
           her with all my soul for all the wrong she
           has done me.
                         
          Levin and Kitty are at the card table, with a spillage of the alphabet pieces.
                         
                          OBLONSKY
           It's your turn to play us something,
           Countess.
                         
          KITTY AND LEVIN
                         
                          LEVIN
           Since we last met, there is something I have
           often wanted to ask you.
                         
                          KITTY
           What is that?
                         
          Levin sorts through the alphabet pieces as though he is putting off the
          moment, but he quickly puts four letters spaced out in a row: D N M N.
                         
                         
                          131
                          LEVIN
           This.
                         
          Kitty tries.
                         
                          KITTY
           Do Not . . .
                         
          Levin adds an I next to the D.
                         
                          KITTY (CONT'D)
           Did. Did Not.
                         
          Levin shakes his head. He adds an E next to the second N. Kitty concentrates.
                         
                          KITTY (CONT'D)
           The last word is Never.
                         
          Levin nods. Kitty puts letters in place. They read DID NO MEAN
          NEVER.
                         
          Levin looks into her eyes.
                         
          Kitty finds letters and presents Levin with T I D N K. Levin adds NOW
          to the K. Kitty nods. Levin adds OT to the N. Kitty nods.
                         
          Levin adds an O to the D. Kitty shakes her head. She puts an H after the T.
                         
                          LEVIN
           I know what it says.
                         
          Dolly, looking across the room, sees Kitty and Levin serious and smiling,
          rapt.
                         
          Levin places extra letters: THEN I DID NOT KNOW. Kitty nods.
                         
                         
                          132
                          LEVIN (CONT'D)
           Then. But now?
                         
          Kitty finds C Y F A F.
                         
                          LEVIN (CONT'D)
           Can You.
                         
          Kitty nods.
                         
                          LEVIN (CONT'D)
           Can you Forgive. And Forget.
                         
          Levin puts down I L Y.
                         
                          LEVIN (CONT'D)
           I never stopped . . .
                         
          He looks up to see silent tears streaming down her face. His own eyes flood.
                         
                         
          EXT. STREET, MOSCOW--NIGHT
                         
          Karenin walks away from the Oblonsky house. He lifts his face to meet the
          snowflakes. He looks tortured. Snow melts on his face like tears. He takes
          from his wallet a telegram.
                         
                         
          CLOSE UP TELEGRAM:
           I BEG YOU TO COME. I NEED YOUR FORGIVENESS.
           I AM DYING.
                         
                          KARENIN
           Die, then.
                         
          He stands in the snow, uncertain.
                         
                         
                          133
          INT. TRAIN (MOSCOW TO ST. PETERSBURG)--NIGHT
                         
          Karenin sits like a statue.
                         
                         
          INT. ENTRANCE HALL, KARENIN HOUSE--DAY
                         
          Karenin is let into the house by Kapitonich.
                         
                          KARENIN
           How is your mistress?
                         
                          KAPITONICH
           Safely delivered of a daughter, Your
           Excellency.
                         
                          KARENIN
           So . . . she is well?
                         
                          KAPITONICH
           The mistress is very poorly. The doctor . . .
                         
          Karenin, going to the stairs, sees Vronsky's cloak and cap on the coat stand.
                         
                         
          INT. BEDROOM LEVEL, KARENIN HOUSE, SAME
                          TIME--DAY
                         
          Karenin comes up the staircase. When he reaches his dressing room he hears
          Anna shouting for "Alexei" in her delirium. He hesitates. Anna shouts the
          name again. Karenin enters Anna's boudoir.
                         
                         
                         
                         
                          134
          INT. ANNA'S BOUDOIR, KARENIN HOUSE, SAME
                          TIME--DAY
                         
          Karenin sees Vronsky sitting with his hands over his face. Vronsky jumps
          up in confusion.
                         
                          VRONSKY
           She's dying. Please let me stay.
                         
          Karenin looks at him coldly and enters the bedroom.
                         
                         
          INT. BEDROOM, KARENIN HOUSE--DAY
                         
          Anna is not seeing or hearing, struggling against the Doctor and the Mid-
          wife, while Annushka holds her hand.
                         
                          DOCTOR
           Thank God! She talks only of you.
                         
          In her delirium, Anna keeps up a bright prattle.
                         
                          ANNA
           Why doesn't he come? He is kind. He will
           forgive me.
                         
                          MIDWIFE
           He's here--look--look--can't you see him?
                         
                          ANNA
           I want Alexei! Why doesn't he come? Give
           me some water. No, I mustn't, it's not good
           for my little girl. Or let her have a nurse.
           Yes--don't bring her here, because Alexei
           is coming and it will hurt him to see her.
                         
                         
                          135
                          ANNUSHKA
           He's come, my dear--look there . . .
                         
          Annushka gives way to Karenin, who kneels by the bed, taking Anna's
          hand.
                         
                          DOCTOR
                          (TO ANNUSHKA)
           More ice.
                         
          Annushka hurries out.
                         
                          ANNA
           Oh, what nonsense. I must be asleep, that's
           what it is. You think he won't forgive me
           but you don't know him. No one knows
           him except me. I'm not afraid of him now.
                         
          Karenin gazes at her. He looks at her as he's never looked at her.
                         
                          ANNA (CONT'D)
           I'm afraid of death, though.
                         
          Karenin tries to speak but cannot. He starts making shushing noises as to a
          baby. She quietens down. She seems to recognise him.
                         
                          ANNA (CONT'D)
           Oh, my dear. Don't look at me like that.
           I am not the one you think. I'm afraid of
           her. She fell in love with another man. I'm
           the real one. But I'm dying now, then she'll
           be dead, too. Poor man! Let him come in.
           Alexis! Alexis!
                         
                         
                         
                         
                          136
          INT. BOUDOIR, KARENIN HOUSE, SAME TIME--DAY
                         
          Vronsky hears her calling. He comes into the bedroom.
                         
                         
          INT. BEDROOM, KARENIN HOUSE, SAME TIME--DAY
                         
          Vronsky covers his face, unmanned. The Doctor nods to the Midwife--
          "Leave them alone." They leave.
                         
                          ANNA
           Take your hands away from your face. Look
           at my husband. He's a saint! Take his hand.
           Alexei--take his hands away.
                         
          Karenin pulls Vronsky's fingers, and holds on to Vronsky's hand.
                         
                          ANNA (CONT'D)
           Forgive him, too. Thank God, thank
           God . . .
                         
                         
                         DAWN
                         
          Anna is asleep. Karenin is alone with her. The crisis seems to be over. She
          opens her eyes.
                         
                          ANNA (CONT'D)
           So you came.
                         
          Karenin puts his face down to her shoulder. She strokes him.
                         
                          ANNA (CONT'D)
           If I had died as I wanted, you would be free
           of your troubles at last.
                         
                         
                          137
                          KARENIN
           I am free of them.
                         
          Anna closes her eyes and sleeps again.
                         
                         
          BOUDOIR, KARENIN HOUSE, SAME TIME--DAY
                         
          Karenin comes in. Vronsky is there. He looks up abjectly.
                         
                          VRONSKY
           Whatever you think of me, please believe
           me, I love her--I could not have done other-
           wise than what I . . . what I did.
                         
          Karenin nods and sits next to him.
                         
                          KARENIN
           But you must leave now. I promise to send
           for you if she asks for you. I don't know what
           happened. I forgive you. I forgive Anna. My
           soul is filled with joy. I will remain with her
           and look after her for ever.
                         
          Karenin stands up and offers his hand. Vronsky grasps it and starts
          shaking.
                         
                          KARENIN (CONT'D)
           Come now, come now . . .
                         
          Karenin embraces him, comforting him.
                         
                         
                         
                         
                          138
          INT. VRONSKY FLAT, ST. PETERSBURG
                         
          Vronsky arrives back at his flat . . . and finds his mother waiting for him
          in his sitting room.
                         
                          COUNTESS VRONSKY
           Look at you. You look like what you are. A
           laughingstock. I fancy you are to be asked
           to leave the regiment.
                         
                          VRONSKY
           I would like you to go, Maman.
                         
                          COUNTESS VRONSKY
           I will go when I'm ready to go. A little
           affair with a married woman puts a finish-
           ing touch to a young man's education--but
           this morbid, selfish obsession . . . ! You have
           publicly humiliated a man who has devoted
           his life to Russia, and it will not be forgot-
           ten. You'd better come back to Moscow
           with me. You're finished here.
                         
                          VRONSKY
           In Petersburg?
           (he taps his breastbone)
           I'm finished here.
                         
                         
          INT. BEDROOM, VRONSKY FLAT--DAY
                         
          For the first time, Vronsky is wearing civilian clothes . . . looking reflect-
          ingly at his uniform hanging in his wardrobe. He places his cavalry cap
          carefully on a shelf and closes the wardrobe.
                         
                         
                         
                          139
          INT. BEDROOM, OBLONSKY HOUSE, MOSCOW--
                          DAY
                         
          Levin is half-dressed in clothes to be married in, assisted by Matvey and
          watched over by Oblonsky, who is in wedding clothes. Levin is frantic.
          Oblonsky is perplexed. Matvey is unflappable, holding Levin's coat ready
          and following him around.
                         
                          LEVIN
           . . . no, I'll go to her and tell her it's not
           too late to stop this business! Better now
           than when we're married and she realises
           she doesn't love me!
                         
                          OBLONSKY
           But she does love you!
                         
                          LEVIN
           How can she? I mean, look at me! Suppose
           she's only marrying me to get married?
           Suppose she's still in love with Vronsky?
                         
           She's making a terrible mistake! I'll go
           to her and tell her she's free, that's what I
           must do . . .
                         
                          MATVEY
           Your coat, sir.
                         
          Levin snatches the coat and puts it on, and dashes out of the room.
                         
                         
                         
                         
                          140
          INT. ENTRANCE HALL, SHCHERBATSKY HOUSE--
                          DAY
                         
          Levin, in disarray, is let into the house. The entrance hall is crowded, loud
          and chaotic with children, maids, governesses and Kitty's mother. Tanya,
          Masha and Lili are bridesmaids. Grisha is a page. Princess Shcherbatsky,
          trying to create order among last-minute bouquet distribution, hair-
          adjustments, shoe-changing, etc., sees Levin and explodes.
                         
                          PRINCESS SHCHERBATSKY
           Konstantin!--what-- ?
                         
                          LEVIN
           I have to talk to Kitty.
                         
                          PRINCESS SHCHERBATSKY
           You're not allowed to see her!
                         
          Levin gallops up the stairs.
                         
                         
          INT. KITTY'S ROOM, SHCHERBATSKY HOUSE--DAY
                         
          Kitty, dressed for the church, is whispering into the crack of the bedroom door.
                         
                          KITTY
           No. I don't understand at all! What's the
           matter with you?
                         
                         
          INT. OUTSIDE KITTY'S ROOM, SAME TIME--DAY
                         
                          LEVIN
           You can't love me. Think it over! Let people
           say what they like!
                         
                         
                          141
                          KITTY
                          ( FRIGHTENED)
           Are you mad? Have you changed your
           mind?
                         
                          LEVIN
           Yes. If you don't love me.
                         
                          KITTY
           But I do love you!
                         
          Levin hesitates, desperate.
                         
                          LEVIN
           Do you? Well, I love you!
                         
                          KITTY
           Oh, Konstantin!
                         
          They link hands through the opening, each with a hand to kiss.
                         
                         
          OVER-- CHURCH ORGAN MUSIC
                         
          INT. CHURCH--DAY
                         
          A mere fragment of a long and ornate marriage ceremony . . .
                         
          The grizzled Priest lights two decorated candles, holding them askew in his
          left hand, and he uses his right hand to touch Levin and, more tenderly,
          Kitty. He gives the couple the candles, Kitty taking hers in her gloved hand.
          Levin looks blissfully at Kitty.
                         
                         
                         
                         
                          142
                         MIX TO
                         
          The Priest lifts crowns from their heads, and invites them to kiss each other,
          relieving them of their candles.
                         
          The Choir bursts with pride.
                         
                         
          INT. NURSERY, KARENIN HOUSE--DAY
                         
          The baby girl, two months old, is being fed by a Wet Nurse. Replete, the
          baby is given over to the Nursemaid who lays the child in her crib.
                         
          Karenin watches all this. The women ignore him: they are used to him
          now, and Karenin is harmless. Karenin stares fascinated at the baby, who
          stares back.
                         
                         
          INT. BOUDOIR, KARENIN HOUSE, ST. PETERSBURG--
                          DAY
                         
          Anna stares at herself in the mirror. The act of raising a pair of scissors is
          an effort. She isolates a thick lock of her hair, and snips it off.
                         
                         
          INT. BEDROOM, KARENIN HOUSE--DAY
                         
          Anna's hair is short all over. She sits up in bed, listening to Princess Betsy,
          who has brought the current gossip.
                         
                          BETSY
           . . . and there was her husband wearing her
           best ballgown, rouge all over his face . . .
           ma chere, le scandale! . . . But I'd better tell
           you some regimental news . . .
                         
                         
                          143
          INT. ENTRANCE HALL, KARENIN HOUSE--DAY
                         
          Karenin enters and sees a glamorous Footman standing in the entrance
          hall, holding a white fur cape.
                         
                          KARENIN
           Who is here?
                         
                          FOOTMAN
           Princess Elisabeth Federovna Tverskaya,
           Your Excellency.
                         
                         
          INT. BEDROOM LEVEL, KARENIN HOUSE--DAY
                         
          Karenin approaches the bedroom door.
                         
           anna (O.C.)
           No--I don't want to see him.
                         
           betsy (O.C.)
           . . . but your husband surely wouldn't . . .
                         
                         
          INT. BEDROOM, KARENIN HOUSE, SAME TIME--DAY
                         
          Anna sees Karenin who is about to retreat.
                         
                          KARENIN
           Please excuse me.
                         
                          ANNA
           No--stay.
                         
                         
                         
                         
                          144
                          BETSY
           I am so glad to see you. Everyone asks after
           you.
                         
          Karenin bows to her and kisses Anna's hand.
                         
                          KARENIN
           You look feverish.
                         
                          BETSY
           We have been talking too much--so I'm
           going.
                         
                          ANNA
           Princess Betsy came to tell me . . .
                         
           I don't want to hide anything from you . . .
           Count Vronsky asked to come to say
           goodbye--he's going away. I have said I
           can't receive him.
                         
          Betsy kisses Anna.
                         
                          BETSY
           Goodbye, my treasure.
                         
          Karenin follows Betsy out. Anna gives in to a moment of grief, and recovers
          herself when she hears the crack of Karenin's knuckles. He comes in.
                         
                          KARENIN
           I agree with you. As he is going away, there
           is no need for Count Vronsky to come here.
                         
                         
                         
                         
                          145
                          ANNA
          I have just said so, so there's no need to
          repeat it.
                         
                          KARENIN
          But it is for you to decide.
                         
                          ANNA
          Yes, and I decided.
                         
                          KARENIN
          Then I am very glad that--
                         
                          ANNA
          That we agree, so perhaps we can stop talk-
          ing about it.
                         
                          KARENIN
          Of course. Is there anything I can do for
          you?
                         
                          ANNA
          Yes, can you please please please stop crack-
          ing your knuckles.
                          (PAUSE)
          I'm a bad woman. But I can't breathe. Your
          kindness which I can't repay, and your
                         FORGIVENESS--
                         
                          KARENIN
          You begged me for my forgiveness.
                         
                          ANNA
          But I didn't die and now I have to live with
          it! If only you would have gone on hating me.
                         
                         
                          146
                          KARENIN
          But then--what? What? What do you want?
                         
          Do you know what you want?
                         
          Do you want to see Count Vronsky?
                         
                          ANNA
                          (QUIETLY)
          Not to say goodbye.
                         
                          KARENIN
          I can't hear.
                         
                          ANNA
          Not to say goodbye.
                         
                          KARENIN
                          (PAUSE)
          You would be lost. Irretrievably lost. You
          would have no position. And worse if we
          divorce. You would be the guilty party.
          That means you cannot legally remarry.
          Your union with Count Vronsky would be
          illegitimate, and so would your daughter
          who now has the protection of my name.
          And that is what you want! It would be a
          sin to help you destroy yourself.
                         
                          ANNA
          You forget something. Count Vronsky and I
          love each other.
                         
                          KARENIN
          And this love sanctifies a criminal folly?
                         
                         
                          147
                          ANNA
                          (CRIES OUT)
           All I know is that I sent him away and it's as
           if I'd shot myself through the heart!
                         
                          KARENIN
                          (PAUSE)
           I see. And Serozha . . . ?
                         
          It's the crux for Anna, and she is prepared for it.
                         
                          ANNA
           I would die for him, but I won't live like
           this for him. When he knows about love,
           he'll forgive me.
                         
          Karenin can see where this takes him.
                         
                          KARENIN
           Then I must choose the smaller sin. Vronsky
           robbed me of my cloak and I will give him
           my coat. I will give you grounds to divorce
           me, and I'll accept the scandal, the humilia-
           tion and the consequences to my career.
                         
                          ANNA
           No . . . I can't . . .
                         
                          KARENIN
           You may write to him but I would prefer
           you not to see him until you have left this
           house.
                         
                         
                         
                         
                          148
          EXT. ROAD BRIDGE, ST. PETERSBURG--DAY
                         
          Two coaches, each with considerable luggage, have a rendezvous, one coach
          on the bridge.
                         
                         
          INT. COACH, SAME TIME-- DAY
                         
          Anna is holding Baby Anya. Annushka and the Nurse are with her.
                         
                         
          INT. SECOND COACH, SAME TIME--DAY
                         
          Vronsky, in civilian clothes, is alone, looking anxiously out of the window.
                         
                         
          INT. COACH, SAME TIME-- DAY
                         
          Anna gives the baby to the Nurse, as the coach halts.
                         
                         
          EXT. ROAD BRIDGE, SAME TIME--DAY
                         
          Anna gets out of her coach and runs the few yards to Vronsky's coach. He
          opens the door for her.
                         
                         
          INT. SECOND COACH, SAME TIME--DAY
                         
          Anna is kissing Vronsky's face and being kissed, weeping, smiling.
                         
                          VRONSKY
           You look like a boy. But so pale. We'll go
           south . . . to the sea air and sunshine . . .
                         
                         
                         
                          149
          INT. BEDROOM ("THE SOUTH")--DAY
                         
          Early morning. In a big untidy bed, Vronsky and Anna lie asleep, naked
          and satiated. The style of the room, and the warmth of the light, tell of
          the journey made, confirmed by the view from the window, an attractive
          panorama from an elevation above the sea. In the room, there are open,
          unpacked or partly unpacked trunks and cases, and, abandoned untidily,
          Anna's and Vronsky's clothes.
                         
                         
          INT. KARENIN'S STUDY, KARENIN HOUSE--DAY
                         
          Slyudin is in attendance on Karenin at his desk.
                         
                          SLYUDIN
           . . . and Madame Odette in person, so to speak,
           Your Excellency, with your permission . . .
                         
          A respectful cough at the door reveals an obsequious male Shopkeeper. Kar-
          enin is bewildered.
                         
                          KARENIN
           Madame Odette . . . ?
                         
                          SHOPKEEPER
           Excuse the liberty, Your Excellency . . . it's
           for a bonnet and some ribbons Her Excel-
           lency has overlooked. If you wish us to
           address ourselves to Her Excellency, please
           be so good as to tell us where we might . . .
                         
          Karenin is stricken into immobility, his face hiding in one propped-up hand.
          A tear falls on the blotter. Slyudin rescues him, ushering the Shopkeeper out.
                         
                         
                         
                         
                          150
          Countess Lydia arrives in full fluttering cry.
                         
                          LYDIA
           I have forced my way in! I have heard!
                         
                          KARENIN
           Countess, every shopkeeper has heard.
                         
                          LYDIA
           My dear friend! Don't give way to sorrow.
           Our Lord Jesus Christ has you in his care.
                         
                          KARENIN
           No, I'm done for. I don't understand any-
           thing. All day long I'm being asked to
           make decisions about bills and servants, the
           kitchen, Serozha's clothes . . .
                         
                          LYDIA
           I understand. I understand everything. I am
           going to act. The household arrangements
           you can leave to me. I will come every day. I
           will be a second mother to Serozha.
                         
          He clasps both her hands and kisses them. Lydia falls to her knees.
                         
                          LYDIA (CONT'D)
           He that humbleth himself shall be exalted!
           You must not thank me. Thank Him whose
           love pours through me!
                         
                         
                         
                         
                          151
          EXT. SNOWY COUNTRYSIDE, POKROVSKOE, SAME
                          TIME--DAY
                         
          The sleigh brings Levin and Kitty home through deep snow all around. The
          house comes into view.
                         
                         
                         SLEIGH
                         
          They have been on honeymoon travels, attested by hotel labels on the lug-
          gage. Kitty, eager and anxious, looks at the approaching house. Not too
          bad. Levin takes her hand. She smiles at him, to calm him.
                         
                         
          EXT. THE HOUSE, POKROVSKOE, SAME TIME--DAY
                         
          Agafia and Vasili come out on the porch. The house has been painted, the
          window frames smartened up, and paper flowers are tied to the posts of
          the porch. The sleigh pulls up. Levin carries Kitty through the snow to the
          porch. Agafia bobs. Vasili bows.
                         
                          LEVIN
           This is Agafia, and Vasili, the steward . . .
           My wife, Ekaterina Alexandrovna Levin.
                         
                          KITTY
           I am very pleased to meet you both.
                         
          Kuzma sidles by with a bow and goes to take the luggage from the sleigh.
                         
                          LEVIN
           And that was Kuzma. Come inside!
                         
                         
                         
                         
                          152
                          VASILI
           Careful--door's still a bit . . .
           (to Levin's look)
           it's all right, it'll be dry tomorrow . . .
                         
                         
          INT. SITTING ROOM, POKROVSKOE, SAME TIME--
                          DAY
                         
          Levin shows Kitty in. He is immensely relieved. It never looked better. At
          the same time he realises that Agafia is agitated: a word in private.
                         
                          LEVIN
           Is it all right?
                         
          Kitty nods, smiles gamely--it's not like home.
                         
                          LEVIN (CONT'D)
           Sit down a minute.
                         
                          KITTY
           No--I want to see everything.
                         
          Agafia panics.
                         
                          LEVIN
           A moment.
                         
          Levin follows Agafia out.
                         
                         
          INT. STAIRS, POKROVSKOE, SAME TIME--DAY
                         
          Agafia follows Levin up the stairs. She is outraged.
                         
                         
                         
                          153
                          AGAFIA
           . . . and now I'm doing kitchen maid's
           work because Nadya's parents won't let her
           set foot in this house, and who can blame
           them!--it's indecent!
                         
                         
          INT. GUEST BEDROOM, POKROVSKOE, SAME TIME--
                          DAY
                         
          Levin enters the small bedroom. Agafia waits outside.
                         
          Nikolai is in the bed-- wasted, near death. He lies in squalor. Masha is
          wiping his face. She stands up at Levin's approach. Levin bends over Niko-
          lai, presses his gaunt hand. Nikolai opens his eyes.
                         
                          LEVIN
           It's me, Konstantin.
                         
                          NIKOLAI
           Yes, good. The doctor here is useless--get
           me a doctor from Moscow.
                         
                          LEVIN
           Where did you go? I asked for you every-
           where, when I was getting married.
                         
          Nikolai sighs and closes his eyes. Levin retreats, looks to Masha.
                         
                          MASHA
                          (WHISPERS)
           I'm sorry . . . I couldn't leave him. I know
           I've done wrong.
                         
                         
                         
                         
                          154
                          LEVIN
           Yes. My wife . . . You can't stay now.
                         
          Levin goes outside to Agafia and closes the door.
                         
                         
          INT. OUTSIDE GUEST BEDROOM, POKROVSKOE,
           SAME TIME-- DAY
                         
                          AGAFIA
           I couldn't go against Nikolai Dmitrich's
           orders . . .
                         
                          LEVIN
           Yes--yes . . . She's going.
                         
          An unwelcome thought strikes Levin.
                         
                          LEVIN (CONT'D)
           Did the doctor see her?
                         
          Agafia nods guiltily.
                         
                         
          INT. SITTING ROOM, POKROVSKOE--DAY
                         
          Kitty has remained. Levin, in miserable agony, is sitting holding her
          hand.
                         
                          LEVIN
           I will nurse him with Agafia . . . The
           woman will find somewhere in the village.
           You won't see her. She knows it's impossible
           for you to meet her. It is a torment to me
           that I have brought you under the same roof
                         
                         
                          155
           as this unfortunate . . . this fallen . . . and in
           your precious, in your delicate condition . . .
                         
          Kitty detaches herself abruptly and leaves the room. He hears her going
          upstairs. After a moment, he follows.
                         
                         
          INT. OUTSIDE GUEST BEDROOM, POKROVSKOE,
           SAME TIME-- DAY
                         
          Kitty comes out of the Guest Bedroom.
                         
                          KITTY
           Good. A clean nightshirt and sheets. A
           towel and a clean pail of warm water. Ask
           Agafia for vinegar, and to prepare a bed
           somewhere for Masha. Wait.
                         
          Kitty goes back into the room and returns at once with a chamber-pot which
          she thrusts at Levin.
                         
                          KITTY (CONT'D)
           And bring the perfume bottle in the outside
           pocket of my handbag.
                         
          She goes back into the room and doesn't return. Levin, humbled, goes down
          the stairs.
                         
                         
          INT. GUEST ROOM, POKROVSKOE--DAY
                         
          Nikolai has been stripped. Masha washes his body. Kitty enters with her
          arms full of clean linen.
                         
                         
                         
                         
                          156
                         LATER
                         
          Nikolai lies naked in clean sheets. Masha hauls him up into a sitting posi-
          tion. Kitty puts a nightshirt over his head. Nikolai protests feebly.
                         
                          KITTY
           I'm not looking.
                         
          Masha and Kitty pull the nightshirt over his body. Kitty pulls the sheet up
          over him. Masha adjusts the fresh pillow. She combs his hair (and beard).
                         
                         
                         LATER--NIGHT
                         
          Nikolai lies quietly in a neat bed in the neat room, with medicine and
          water jug, etc., tidily by the bed. Masha keeps vigil by candlelight, holding
          his hand, singing to him quietly.
                         
                          NIKOLAI
                          (WHEEZING)
           I'm going . . .
                         
                         
          INT. BOYS' ROOM, POKROVSKOE, SAME TIME--DAY
                         
          Levin comes into the room he shared with his brother. The room has been
          abandoned for years . . . two bare beds, a washstand, a wooden chest. It
          contains a jumble of books, shoes, a pair of skates.
                         
          Levin hears sleigh bells arriving.
                         
                         
          EXT. THE HOUSE, POKROVSKOE, SAME TIME--DAY
                         
          The sleigh draws up, bringing a Priest.
                         
                         
                          157
          INT. GUEST ROOM, POKROVSKOE--DAY
                         
          Levin, feeling out of place, is at the washstand. He notices there is a prettily
          wrapped new cake of soap. He picks it up and puts it to his nose.
                         
          Masha and Kitty are kneeling by the bed. The Priest bends over Nikolai
          holding up an icon in front of Nikolai's face and murmuring the prayers.
          Levin, embarrassed, puts down the soap and comes forward and kneels too.
                         
                         
                         LATER
                         
          Nikolai is at the point of death. Levin stares, torn between the mystery
          and the lack of mystery, the ordinariness of the body finally wearing out.
          The death rattle comes. Masha kisses the dead hand. The Priest continues
          to murmur. Kitty takes hold of Masha's hand. Levin stares into Nikolai's
          face: if this is death, what is life?
                         
                         
                         LATER
                         
          Nikolai lies dead, candles burning at his head and feet.
                         
                         
          INT. DINING ROOM, POKROVSKOE--DAY
                         
          Levin counts money, for the services of the Priest . . . who is eating bread
          and soup.
                         
                          LEVIN
           Thank you, Father . . . and how much . . . ?
                         
          He offers a handful of paper money.
                         
                         
                         
                         
                          158
                          PRIEST
           At your benevolence. It is a custom, not a
           levy, Your Excellency . . . Jesus overturned
           the money-tables outside the temple, but . . .
                         
          He shrugs and puts the money away, and returns to his soup.
                         
                         
          EXT. GRAVEYARD, POKROVSKOE--DAY
                         
          The snow is almost gone. Nikolai's grave has flowers strewn on the mound.
                         
                         
          EXT. THE HOUSE AND YARD, POKROVSKOE--DAY
                         
          Pava's yearling and several more calves, delirious with release, mill through the
          yard with the herd, to pasture, with a Herdsman and Laska urging them on.
                         
          Masha is leaving, alone behind the Coachman. She sits quietly and doesn't
          look back. Levin and Kitty watch her drive away.
                         
                          KITTY
           You're such an expert on love, Kostya . . .
           why didn't you know it when you saw it?
                         
                         
          INT. GOVERNMENT BUILDING, SAME TIME-- DAY
                         
          Lydia hurries along grand deserted hallways. She knows her way. A door
          ahead of her opens and a dozen Politicians and Civil Servants carrying
          portfolios cross her path, with Stremov at the centre of their unheard conver-
          sation. Stremov is smiling, triumphant.
                         
          Lydia expects to see Karenin among them. She hurries on to the door they
          came from.
                         
                         
                          159
          INT. COMMITTEE CHAMBER, SAME TIME--DAY
                         
          When Lydia enters, Karenin, alone in the chamber, is sitting immobile,
          defeated. He starts gathering his papers. Lydia comes to him. Her agitation
          explained, she takes an opened letter from her bag.
                         
                          LYDIA
           Alexei, they're back! Here in St. Petersburg!
           She has written to me.
                         
          Karenin accepts the letter and reads it.
                         
                          KARENIN
           To you? . . . I think I don't have the right to
           refuse . . . It's the boy's birthday . . .
                         
                          LYDIA
           My friend . . . you would be blowing on the
           embers of a fire which must be allowed to
           die . . . Let me write to her.
                         
                         
          EXT. TOY SHOP, ST. PETERSBURG--DAY
                         
          Anna is looking into the display window of a toy shop. She is excited, glow-
          ing. She enters the shop.
                         
                         
          INT. VRONSKY'S FLAT, ST. PETERSBURG--DAY
                         
          Returning from the toy shop with a wrapped parcel, Anna comes in. Luggage
          is stacked up in the hallway and Franz is unpacking stuff in the main room.
                         
          She sees that a hand-delivered letter is waiting for her. She opens it. Anna reads
          the letter. For a moment she is devastated by it--but then, furious, she tears it up.
                         
                         
                          160
          EXT. KARENIN HOUSE, ST. PETERSBURG--DAY
                         
          It's very early morning. The street is not awake. A hired cab brings Anna
          to her former home. She is heavily veiled, and carries the wrapped parcel
          from the toy shop. The cab is to wait for her. She rings the doorbell.
                         
          A sleepy Servant opens the big wooden door.
                         
                          ANNA
           I'm here to see Sergei Alexeyich.
                         
          The young Servant doesn't know her. Anna steps past him, pushing money
          into his hand.
                         
                         
          INT. ENTRANCE HALL, KARENIN HOUSE, SAME
                          TIME--DAY
                         
          Kapitonich, pulling on his livery greatcoat, comes to the inner glass door
          and lets Anna in. He does not recognise her.
                         
                          ANNA
           I have brought something for Sergei
           Alexeyich.
                         
          Kapitonich scrutinises her, prepared to forestall her.
                         
                          KAPITONICH
           He is not up yet. Would you wish to wait?
           Who shall I say . . . ?
                         
          Kapitonich peers at her and realises who she is. He steps back and bows.
                         
                          KAPITONICH (CONT'D)
           Please come in, Your Excellency.
                         
                         
                          161
          Anna goes quickly to the stairs.
                         
                          KAPITONICH (CONT'D)
           Allow me to announce you. The tutor may
           be there and not dressed.
                         
          Anna shakes her head and is almost running away from him. Kapitonich
          gives chase.
                         
                         
          INT. STAIRS, KARENIN'S HOUSE, SAME TIME--DAY
                         
                          KAPITONICH
           Please allow me!
                         
                         
          INT. UPPER LEVEL, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          Anna dashes past two Housemaids who gape at her, and disappears round
          the corner. She's a little mad now.
                         
                         
          INT. UPPER STAIRS, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          Anna, wild-eyed, climbs the stairs and meets the tutor, Vasily Lukich,
          coming down, buttoning his waistcoat. Lukich is startled, not knowing her.
                         
                          ANNA
           I've come to see Sergei Alexeyich.
                         
          Kapitonich reaches these stairs, calling, "Your Excellency . . . !"
                         
                         
                         
                         
                          162
          INT. TOP FLOOR, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          Anna dashes for Serozha's door and flings herself through it.
                         
                         
          INT. "SEROZHA'S ROOM," KARENIN HOUSE, SAME
                          TIME--DAY
                         
          It's no longer Serozha's room. A large Woman sits up in bed. She's probably
          the Cook. She cries out. Anna reels back. She looks panicked.
                         
          Kapitonich catches up, out of breath.
                         
                          KAPITONICH
           He's been moved to the small sitting room.
                         
                         
          INT. UPPER STAIRS, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          At the bottom of the Upper Stairs, Lukich, the Housemaids and a couple of
          half-dressed Footmen have their heads together. They move aside as Anna
          hurries by, seeing nothing.
                         
                         
          INT. UPPER LEVEL, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          Kapitonich catches up with Anna at the door of the "small sitting room."
                         
                          KAPITONICH
           I'll just look in.
                         
          Anna shakes her head and walks past him, into the room.
                         
                         
                          163
          INT. BEDROOM, KARENIN HOUSE, SAME TIME--DAY
                         
          The curtains are drawn closed. The room is dim. Anna sees Serozha sitting
          up, yawning, his eyes closed, and falling back on the pillow. She comes to
          the bed and whispers his name. Serozha raises himself on his elbow, opens
          his eyes and smiles dreamily and falls forward into her arms.
                         
                          SEROZHA
           Mama.
                         
                          ANNA
           Oh, my dear little boy.
                         
                          SEROZHA
           I knew you would come. Today is my
           birthday.
                         
          Serozha rubs his face on her neck, falls back on the pillow, only half awake
          and going back to sleep. Anna looks at him avidly, touching his forearms,
          his shoulders, the hair over his ears. She can't stop her own tears. He comes
          awake.
                         
                          SEROZHA (CONT'D)
           Are you crying?
                         
                          ANNA
           I won't cry. It's time for you to get dressed.
           And I almost forgot your present, look . . .
           open it . . .
                         
          Serozha takes off her hat.
                         
                          SEROZHA
           You don't want that . . . Let me see.
                         
                         
                         
                          164
          Serozha tears open the package, lifts the lid of the cardboard box and finds
          a puppet, a beautifully dressed marionette.
                         
                          SEROZHA (CONT'D)
           Oh, he's grand!
                         
                         
          INT. UPPER LEVEL, KARENIN HOUSE, SAME TIME--
                          DAY
                         
          Korney, the Valet, among others, has joined the "conference" and is blaming
          Kapitonich.
                         
                          KORNEY
           It's your fault for letting her in!--you
           should be sacked.
                         
                          KAPITONICH
           Oh yes, you would have sent her packing!
           Ten years I've been keeping the door and
           the mistress was always kind to me. You
           should stick to stealing the master's clothes.
                         
                          LUKICH
           I've had enough of this--it's my job to get
           the boy out of bed before His Excellency
           comes . . .
                         
                         
          INT. SEROZHA'S ROOM, KARENIN HOUSE, SAME
                          TIME--DAY
                         
          Lukich cautiously opens the door. He sees mother and son working the pup-
          pet and laughing quietly. Lukich backs off. Anna looks round to see the
          door closing.
                         
                         
                          165
                          ANNA
           Darling Kutik, Maman can't stay . . .
                         
          Serozha clings to Anna.
                         
                          SEROZHA
           Don't go!--he's not coming yet.
                         
                          ANNA
           Yes, I must, and you must love Papa--
           he's better than I am. When you're
           grown-up . . .
                         
                          SEROZHA
           No one in the whole world is better than
           you.
                         
          Anna hugs him.
                         
                         
          INT. OUTSIDE SEROZHA'S ROOM, KARENIN HOUSE,
           SAME TIME-- DAY
                         
          The Servants in a huddle look round at the sound of a door, and approach-
          ing footsteps round a blind corner.
                         
          There is no one in view when Karenin comes around the corner. The Ser-
          vants have vanished. He goes to Serozha's door. Anna comes out.
                         
          He stops, astonished. Anna looks at him boldly, then pulls down her veil.
          Karenin bows. Anna walks past him.
                         
                         
                         
                         
                          166
          INT. VRONSKY'S FLAT, ST. PETERSBURG--DAY
                         
          Anna comes "home" from Karenin's house. The visit has changed her. She
          sits down in her hat and coat. Annushka comes in.
                         
                          ANNA
           Where's Anya?
                         
                          ANNUSHKA
           She's still asleep. Should I take your coat?
                         
          Anna shakes her head.
                         
                          ANNUSHKA (CONT'D)
           Are you feeling unwell, Madame?
                         
                          ANNA
           I'm not sleeping.
                         
                          ANNUSHKA
           I can send out for something.
                         
          Anna nods.
                         
                         
                         LATER
                         
          Twilight. Anna appears not to have moved. The baby is heard crying in
          another room. Anna's face remains set, but she reacts on hearing Vronsky
          coming in.
                         
                          VRONSKY
           Why are you in the dark?
                         
          He turns on a gaslight.
                         
                         
                          167
                          VRONSKY (CONT'D)
           Yashvin is going to call . . . you remember him.
           (about her clothes)
           Are you going out?
                         
                          ANNA
           To where? To whom?
                         
                          VRONSKY
           What's the matter?
                         
                          ANNA
           I didn't know what happened to you.
                         
                          VRONSKY
           But I told you yesterday . . . My brother . . .
                         
                          ANNA
           Does it take all day for you to meet your
           brother? Does he need you more than I do?
                         
          Vronsky sits next to her and puts his arms round her.
                         
                          VRONSKY
           What's happened?
                         
          Anna shakes her head.
                         
                          VRONSKY (CONT'D)
           Well . . . Alexander agreed to everything.
           Mother's house in Moscow will go to him,
           and the country estate will be our new
           home . . . as soon as the divorce . . . Karenin
           hasn't answered your letter yet?
                         
          Anna shakes her head. She stands up at last and takes off her hat.
                         
                         
                          168
          INT. VRONSKY'S FLAT, ST. PETERSBURG--NIGHT
                         
          Yashvin is a welcome visitor.
                         
                          YASHVIN
           It's wonderful to have you both returned.
                         
                          ANNA
           How good you are to come. You're the very
           first person to call on me since our return.
                         
          Yashvin gets the point of that. He is embarrassed.
                         
                          ANNA (CONT'D)
           I received a note from Princess Betsy asking
           me if I'd call on her between six-thirty and
           eight. Or was it seven?
                         
          Yashvin got the point of that, too.
                         
                          ANNA (CONT'D)
           Alas, between six-thirty and seven is just
           when I'm unable to see her!
                         
                          YASHVIN
           But perhaps you'll meet at the opera tonight?
                         
                          ANNA
           I would love to be there if I could get a box.
                         
                          YASHVIN
                          (BOWS)
           Madame, your box is number four! You'll
           find me there with Princess Myagkaya. Will
           you come, Vronsky?
                         
                         
                          169
          Vronsky shakes his head. Yashvin kisses Anna's hand.
                         
                          ANNA
           I see why . . . Alexei is so fond of you.
                         
          Yashvin laughs and bows himself out.
                         
                          VRONSKY
           You know you can't go to the theatre?
                         
                          ANNA
           Annushka!
                         
                          VRONSKY
           For heaven's sake--
                         
          Annushka comes.
                         
                          ANNA
           A bath. I'll come in and choose a dress.
                         
          Annushka goes.
                         
                          VRONSKY
           Anna--I implore you--don't you know . . . ?
                         
                          ANNA
           I'm not ashamed of who I am or what I've
           done: are you ashamed for me? Why do
           you keep a room at the hotel? Aren't we
           together? Have you changed towards me?
                         
                          VRONSKY
           It's because I love you and care about you.
                         
                         
                         
                          170
                          ANNA
           If that's the case, I don't know why you
           aren't coming with me.
                         
                          VRONSKY
           That would make it worse.
                         
                          ANNA
           You're afraid. Well, I'm not.
                         
                         
          INT. OPERA HOUSE, ST. PETERSBURG--NIGHT
                         
          Before the performance, the stairs, galleries and corridors, giving access
          to the stalls and boxes, are crowded with the town's highest society. And
          Anna, at her most beautiful, is magically cleaving through it. Awareness
          of her presence is like a contagion, and yet everyone manages not to catch her
          eye . . . so while all around her there are people impeding each other with
          greetings, Anna's path opens before her.
                         
          She knows what is happening. It shocks her but her eyes barely show it.
          The spell is broken by Princess Myagkaya (she of the 85 kopek sauce) who
          hails her.
                         
                          PRINCESS MYAGKAYA
           Anna . . . !
                         
          She picks up on the surrounding effect of this, and rubs it in with mischief,
          taking Anna's arm.
                         
           princess myagkaya (cont'd)
           Something has done you good--you look
           wonderful.
                         
                         
                         
                         
                          171
          INT. VRONSKY'S FLAT, ST PETERSBURG--NIGHT
                         
          Vronsky sits and broods. Angrily, he changes his mind. He jumps up call-
          ing for Franz.
                         
                         
          EXT. OPERA HOUSE, ST. PETERSBURG--NIGHT
                         
          Vronsky's cab draws up outside the brightly lit, deserted opera house. He
          alights.
                         
                         
          INT. STAIRS, GALLERY, OPERA HOUSE--NIGHT
                         
          Vronsky comes up the stairs. The place is deserted, apart from Atten-
          dants . . . one of whom takes Vronsky's cloak and gives him a token.
                         
                         
          INT. ANNA'S BOX, OPERA HOUSE, SAME TIME--
                          NIGHT
                         
          On stage, Act One is just ending, and the curtain falls. The applause gives
          way to chatter.
                         
                          PRINCESS MYAGKAYA
           Should we visit or stay put?
                         
          Anna sees Vronsky entering on the side-aisle below. He looks up at the
          boxes, seeking her. She turns away.
                         
                          ANNA
           Stay put.
                         
          Princess Myagkaya has engaged the attention of Stremov in the neighbour-
          ing box.
                         
                         
                          172
                          PRINCESS MYAGKAYA
           Minister! Congratulations. Come in for a
           moment.
                         
          But Stremov only bows coldly and turns away. Yashvin notes this and
          begins to chew his moustache anxiously. Anna's neighbour on the other side,
          a meek husband of a battle-axe, admires her openly.
                         
          Anna sees that Vronsky has stopped to talk to Countess Vronsky and the
          Princesses Sorokina. The young Princess seems animated by Vronsky, who
          bows himself away.
                         
          Princess Myagkaya sees where Anna is looking.
                         
           princess myagkaya (cont'd)
           Princess Sorokina and her daughter, they're
           from Moscow, neighbours of Countess Vron-
           sky, quite well off, no sons, she's a widow.
                         
          Anna gives her a smiling but wounded look.
                         
           princess myagkaya (cont'd)
           My dear, I'm a sales catalogue.
                         
                         
          INT. OPERA HOUSE, SAME TIME--NIGHT
                         
          Vronsky meets Alexander in the aisle and greets him.
                         
                          VRONSKY
           You'll come up to see us afterwards . . . ?
                         
                          ALEXANDER
           Talk to Varya.
                         
                         
                         
                          173
          Alexander indicates his seat to Vronsky. Vronsky sits by Varya.
                         
                          VRONSKY
           Will you call on Anna?
                         
                          VARYA
           Oh, Alexei . . . I'm fond of you . . . but . . .
                         
                          VRONSKY
           For God's sake, Anna isn't a criminal!
                         
                          VARYA
           I'd call on her if she'd only broken the law.
           But she broke the rules.
                         
          Vronsky is angry and offended. He gets up, bows to Varya. When he looks
          up, he sees Betsy beckoning to him from her box.
                         
                         
          INT. ANNA'S BOX, SAME TIME--NIGHT
                         
          Anna watches Vronsky, sees him acknowledge Betsy's summons.
                         
                          PRINCESS MYAGKAYA
           Who has made the decor? Haven't we got
           a programme? Colonel, would you be so
           kind . . . ?
                         
                          YASHVIN
           Of course.
                         
          Anna's neighbour, emboldened, offers her his programme.
                         
                         
                         
                         
                          174
                          NEIGHBOUR
           Please . . . I would be honoured if you would
           take mine . . .
                         
                          ANNA
           Thank you, how very . . .
                         
          The Neighbour's Wife, catching this, reacts as though electrocuted.
                         
                         
          INT. BETSY'S BOX, SAME TIME--NIGHT
                         
          Princess Betsy is smoking. Prince Tverskoy is examining an ancient book.
          Vronsky enters the box. He bows to the Prince, and kisses Betsy's hand.
                         
                          PRINCE TVERSKOY
           Catullus, printed in Venice, 1501 . . .
           remarkable.
                         
          A grovelling House Manager appears in their midst, to tell Betsy she can't
          smoke in the box.
                         
                          HOUSE MANAGER
                          (BOWING)
           A thousand apologies, Princess, but . . .
                         
          Princess Betsy blows smoke and hands the cigarette, in its holder, to a figure
          standing quietly in the shadowy corner of the box: Makhotin. Makhotin
          takes the cigarette from the holder, crushes it in his left palm. He feels
          humiliated . . . but that's love. The House Manger bows and leaves.
                         
                          VRONSKY
           Captain Makhotin . . .
                         
          The Angry Wife's voice cuts through the audience chatter.
                         
                         
                          175
                          WIFE'S VOICE
           It's a disgrace! Take me home!
                         
          Vronsky turns round to look. He sees the Husband trying to calm his Wife.
                         
                          WIFE
           Fetch my cloak!
                         
          Vronsky sees Anna looking straight ahead. Yashvin is eating his moustache.
                         
                         
          INT. ANNA'S BOX, SAME TIME--NIGHT
                         
          The scene next door is a social catastrophe for Anna, but she is riding it.
          Princess Myagkaya takes her hand. Yashvin shrinks into his corner, morti-
          fied. The whole opera house is becoming aware of the "scandal." The Angry
          Wife has raised her voice.
                         
                         
          INT. NEIGHBOUR'S BOX, SAME TIME--NIGHT
                         
                          WIFE
           What are we coming to?
                         
          The Husband has succeeded in putting his wife's cloak over her shoulders.
          Her exit line is for the benefit of the entire audience.
                         
                          WIFE (CONT'D)
           Is this the opera house or a--or a French
           music hall-- ?!
                         
          The Wife and her Husband leave the box.
                         
                         
                         
                         
                          176
          INT. BETSY'S OPERA BOX, SAME TIME--NIGHT
                         
          Vronsky is tormented. He moves to leave the box.
                         
                          BETSY
                          (SARCASTIC)
           Yes, why don't you? Rescue her and put
           your seal on the fiasco.
                         
          Vronsky knows it and is trapped.
                         
                          BETSY (CONT'D)
           Alexei . . . you see why she must divorce.
           Marriage will solve everything. When will
           it be?
                         
                          VRONSKY
           As far as I'm concerned, she's my wife.
                         
                          BETSY
           But, as you saw, she isn't.
                         
                          VRONSKY
           We're going to Moscow, and then to my
           place in the country.
                         
                          BETSY
           That sounds like a good idea.
                         
                          VRONSKY
           But for a day or two, Anna will be at home,
           at my flat.
                         
          Betsy shrugs.
                         
                         
                         
                          177
                          VRONSKY (CONT'D)
                          (PAUSE)
           Then, I'll say goodbye now.
                         
                         
          INT. VRONSKY'S FLAT, ST. PETERSBURG--NIGHT
                         
          Angry and upset, Anna sweeps into the flat in her opera cloak. Vronsky
          follows her in.
                         
                          ANNA
           . . . you had an excellent night! Does your
           mother want you to marry the widow or the
           child?
                         
                          VRONSKY
           Either one.
                         
                          ANNA
           Don't make a joke of it. If you loved me, you
           would have locked me in to stop me going.
                         
          She throws aside her cloak and goes into the bedroom.
                         
                         
          INT. BEDROOM, VRONSKY FLAT, SAME TIME--NIGHT
                         
          Annushka, asleep in a chair, waiting loyally, wakes up.
                         
                          ANNA
           Go to bed.
                         
          Vronsky comes in as Annushka goes out. He comes to Anna and puts his
          arms round her.
                         
                         
                         
                          178
                          VRONSKY
           Yes, it was my fault.
                         
                          ANNA
           I won't sleep.
                         
                          VRONSKY
           I know how to make you sleep.
                         
                         LATER--IN BED
                         
          Vronsky makes love to Anna but it's not working for her. Her eyes stray
          around. By the bed is a carafe of water, an empty glass and a pharmacy
          bottle as dark as ink, with a handwritten label.
                         
                         
          EXT. MOSCOW--DAY
                         
          High summer. Heat and dust.
                         
                         
          INT. TEA SHOP, MOSCOW--DAY
                         
          Anna, with some dainty shopping by her, is taking tea in a genteel cafe. Her
          eye is caught by a mother and son at another table. The boy is a "Serozha."
          Anna misses her son acutely in that moment.
                         
          Then Dolly enters the tea shop. Anna's heart lifts for a moment and she
          is about to greet her, but then realises that Dolly is one of a trio of "society
          ladies," and Anna lowers her head. When she sneaks a look, she catches
          one of the ladies whispering to the others. Anna realises that she has been
          recognised by a stranger, and is notorious. She "hides" in her purse, finding
          money to leave on the table so that she can escape. A sound makes her look
          up and she sees that Dolly has sat down opposite her.
                         
                         
                         
                          179
                          DOLLY
           Anna . . . I am very glad to see you. Are you
           well? How is your little one?
                         
          Anna nods, words won't come.
                         
                          DOLLY (CONT'D)
           Stiva wanted to invite you and Count Vron-
           sky to the house but it's impossible . . .
                         
                          ANNA
           I understand.
                         
                          DOLLY
           No, no--you don't. Kitty and her husband
           are with us. She's in Moscow to have the baby.
                         
                          ANNA
           Kitty . . . ? Oh, tell her how pleased I am . . . !
                         
                          DOLLY
           Perhaps I'll wait a year or two.
           (she gulps a laugh)
           Oh . . . love!
                         
                          ANNA
           Yes . . . love! Don't you disapprove of me for
           what I've done?
                         
                          DOLLY
           No. I wish I'd done the same. But no one
           asked me! Well . . . I wouldn't have been
           brave enough.
           (she blinks tears)
           Stiva, you know . . . he doesn't change . . .
           like all men, I suppose.
                         
                         
                          180
          She doesn't notice her tactlessness but it lands on Anna, who manages a
          smile.
                         
                         
          EXT. GRAND HOTEL, MOSCOW--NIGHT
                         
          INT. HOTEL SUITE, MOSCOW--NIGHT
                         
          Anna, in a nightdress, is awake in the night, staring out of the grand
          window of a grand hotel, smoking.
                         
                         
          INT. HOTEL BEDROOM, SAME TIME--NIGHT
                         
          Anna comes back to bed. Vronsky is asleep. She unstops a pharmacy bottle
          (a different one) and pours a draught mixed with water.
                         
                         
          INT. BEDROOM, MOSCOW HOTEL--DAY
                         
          Anna sleeps alone in the bed. Annushka, after a tap on the door, comes in
          cautiously, worried.
                         
                          ANNUSHKA
           Madame . . . Madame . . .
                         
          Anna sits up.
                         
                          ANNUSHKA (CONT'D)
           Are you ill?
                         
                          ANNA
           What time is it? Is Anya up?
                         
                         
                         
                         
                          181
                          ANNUSHKA
           It's afternoon, Madame.
                         
                          ANNA
           I'm all right. It's all right.
                          (PAUSE)
           Get them to bring up all our trunks and
           travel cases. We've been here long enough.
                         
                         
          INT. HOTEL SUITE, MOSCOW--DAY
                         
          Vronsky comes in, noting the empty trunks and cases stacked up. Anna
          comes from her room to greet him. She is making an effort to be pleasant,
          but she looks excited, febrile.
                         
                          ANNA
           I had an inspiration. Why do we have to
           wait here? Why can't we wait in the coun-
           try? I don't want to hear any more about a
           divorce, or think about it.
                         
                          VRONSKY
           Good! I'm bored here. When should we go?
                         
                          ANNA
           If I bore you here, I'll bore you in the
           country.
                         
                          VRONSKY
           I didn't say you bore me. Moscow bores me.
           When should we go? . . . Tomorrow?
                         
          But Anna's mood has turned.
                         
                         
                         
                          182
                          ANNA
          I can't be ready by tomorrow.
                         
                          VRONSKY
          The day after, then.
                         
                          ANNA
          If you like.
                         
                          VRONSKY
          No, wait. That's Sunday. I have to see
          Maman.
                         
                          ANNA
          That's twenty minutes away in the train--
          you could go to see her tomorrow--or was
          it that you wanted to spend Sunday with
          Princess Sorokina?
                         
                          VRONSKY
          Please don't spoil everything. I can't see
          Maman tomorrow because she won't have
          read the papers she has to sign. Oh, and
          then there's the bank . . . But we can leave
          on Tuesday.
                         
                          ANNA
          In that case, let's not bother. I'll leave on
          Sunday or not at all.
                         
                          VRONSKY
          That's absurd!
                         
                         
                         
                         
                          183
                          ANNA
           It's absurd to you because you have no
           understanding for my life here.
                         
                          VRONSKY
           Anna . . . Anna . . .
                         
                          ANNA
           You've stopped loving me. You've given
           up everything for me, and it's turned you
           against me. Why lie about it?
                         
                          VRONSKY
           Stop. I put off our departure for a day or
           two, and you tell me I don't love you.
                         
                          ANNA
           Because I've been living off your love and
           there's none left, so this is over! Finished.
                         
          She leaves him, slamming the door.
                         
                         
          INT. BEDROOM, HOTEL, SAME TIME--DAY
                         
          Anna comes in and lies down on the bed, closes her eyes, sits up, pours a
          dose from the medicine bottle by the bed, and lies down. Vronsky comes in.
          He takes her hand.
                         
                          ANNA
           I'm sorry. I don't mind when we go.
                         
                          VRONSKY
           I'll telegraph Maman. We'll go on Sunday.
           I'll do anything you want.
                         
                         
                          184
                          ANNA
           You should leave me.
                         
                          VRONSKY
           I don't want to. I love you.
                         
                          ANNA
           Why?
                         
                          VRONSKY
           You can't ask why about love.
                         
                         
          INT. DINING ROOM, HOTEL SUITE--DAY
                         
          Anna comes straight from bed. She is drugged and shaky. The room is
          empty but there is a coffee tray on the table. Anna feels the coffeepot and
          pours herself a cup.
                         
                         
          INT. STUDY, HOTEL SUITE--DAY
                         
          Vronsky is at his desk. Anna enters with her coffee. Vronsky is reading a
          telegram. Seeing her enter, he puts the telegram under his papers.
                         
                          VRONSKY
           So--will you be all packed? I'll be out
           today making the arrangements.
                         
                          ANNA
           Is that your way of telling me you'll be at
           your mother's with that simpering little
           princess?
                         
                         
                         
                         
                          185
                          VRONSKY
           No. I'll be with my lawyers. I'm waiting for
           some documents. Then I'm having dinner
           to say goodbye to old comrades.
                         
                          ANNA
           Well, I know what that means.
                         
                          VRONSKY
           My God, this is unendurable.
                         
          He controls himself.
                         
                          VRONSKY (CONT'D)
           I can invite them here if you like.
                         
                          ANNA
           Thank you, but if I'm not fit to dine in soci-
           ety, I won't eat with the band. Who was the
           telegram from?
                         
          Vronsky retrieves the telegram and hands it to her.
                         
                          VRONSKY
           I didn't show it to you, because Stiva keeps
           telegraphing what we already know. Kare-
           nin promises nothing, but will consider . . .
                         
          Anna tosses the telegram aside unread.
                         
                          ANNA
           I told you I don't care about the divorce, so
           why hide the telegram? What else do you
           hide from me?
                         
                         
                         
                          186
                          VRONSKY
           I hide nothing from you.
                         
                          ANNA
           Why do you care about the divorce?
           What has it got to do with us loving each
           other?
                         
                          VRONSKY
           Until we're married, our daughter is legally
           Karenin's. I care about it because we need to
           be free to marry.
                         
                          ANNA
           You're perfectly free to marry anyone your
           mother wants.
                         
                          VRONSKY
           But we aren't talking about--
                         
                          ANNA
           Yes, we are, and, by the way, compared to
           your mother I'm the Virgin Mary.
                         
          Vronsky is silent with anger. He gets up and goes out, returning with his
          hat in his hand.
                         
                          VRONSKY
           Is there anything you wish to say to me?
                         
          She remains silent. He leaves again. She lights a cigarette.
                         
                         
                         
                         
                          187
          EXT. HOTEL BUILDING, SAME TIME--DAY
                         
          The Sorokina Coach draws up outside the door. The coach with its crest
          and the Coachman's livery (a bright yellow cockade) are highly distinctive.
                         
                         
          INT. HOTEL SUITE, SAME TIME--DAY
                         
          Anna, with her cup of coffee, comes in and looks down from the window.
                         
                         
                         ANNA'S POV--
                         
          Vronsky, hat in hand, at the coach window, accepts a large envelope from a
          lilac-gloved hand. He bows. With a wave of the hand and a flash of golden
          hair, the coach pulls away. Vronsky goes back inside.
                         
                         
          INT. STUDY, HOTEL SUITE, SAME TIME--DAY
                         
          With the envelope, Vronsky comes in. Anna is as he left her, the cigarette
          stubbed out.
                         
                          ANNA
           So it's the child.
                         
                          VRONSKY
           She brought papers from Maman.
                         
          He hesitates, thinking she is about to speak.
                         
                          VRONSKY (CONT'D)
           Anna?
                         
          She stays silent. He leaves.
                         
                         
                          188
          INT. BEDROOM, HOTEL SUITE, SAME TIME--DAY
                         
          Anna finds Annushka filling several half-filled cases.
                         
                          ANNA
           Unpack everything. We're not going.
                         
          She lies down on the bed. Annushka would like to comfort her.
                         
                          ANNUSHKA
           Anna Arkadyeva . . .
                         
                          ANNA
           When Count Vronsky comes back, tell
           him . . . I don't want to be disturbed.
                         
                         
          INT. BEDROOM, HOTEL SUITE--NIGHT
                         
          Anna is listening for Vronsky's return. She hears him come in. She hears
          him approach. Then she hears Annushka's voice, then Vronsky's voice. She
          waits in suspense, disappointed as Vronsky's steps retreat.
                         
                         
          INT. STUDY, HOTEL SUITE--NIGHT
                         
          Anna, holding a candle-lamp, finds Vronsky asleep on the couch. She hesi-
          tates, but turns away.
                         
                         
          INT. BEDROOM, HOTEL SUITE--DAY
                         
          Anna wakes. She re-collects herself. She looks at the bedside clock. In a sud-
          den hurry she leaves the bed and the bedroom.
                         
                         
                         
                          189
          INT. OUTSIDE THE BEDROOM, HOTEL SUITE, SAME
                          TIME--DAY
                         
          Anna finds Annushka waiting.
                         
                          ANNA
           Count Vronsky . . . ?
                         
                          ANNUSHKA
           He went out early, to the stables, he said.
                         
          Anna collapses on a chair and weeps.
                         
                          ANNA
           Oh, Annushka . . . I should have
           died. Do you remember?
                         
                          ANNUSHKA
           Don't take it to heart, Anna Arkadyeva . . .
                         
                          ANNA
           I've made him hate me.
                         
                         
          INT. CLOSE (HOTEL)--DAY
                         
          Anna's hand writes in a hurry: "I'm to blame. Come home. I'm
          frightened."
                         
                         
          INT. HOTEL SUITE, SAME TIME--DAY
                         
          Anna seals the note and gives it to Annushka.
                         
                         
                         
                         
                          190
                          ANNA
           Tell Michael to hurry.
                         
          Annushka runs out with the note.
                         
                         
          INT. HOTEL SUITE--DAY
                         
          Anna is keeping watch at the window . . . and is rewarded by the return-
          ing coach. She hurries out.
                         
                         
          INT. STAIRS, HOTEL--DAY
                         
          Anna looks down into the entrance hall. Michael, the Coachman, comes in
          and comes up the stairs to her. She sees that he is holding her note.
                         
                          MICHAEL
           Count Vronsky had already left, Your Excel-
           lency. He took a cab to the station . . . to the
           Countess.
                         
                         
          INT. LOCAL TRAIN--DAY
                         
          Anna clutches her red bag to her, sitting among passengers.
                         
          Anna looks about her. Across the carriage she sees through the window that
          her train is overtaking another passenger train on the next line.
                         
          She looks at the windows of the other train "going by" . . . seeing the pas-
          sengers inside.
                         
          Unexpectedly, she seems to see a Man who might be Vronsky sitting opposite
          a laughing Woman who might be Princess Sorokina.
                         
                         
                          191
          Anna's body jerks involuntarily. She half rises. The image, however, is
          brief and is borne away, as her own train goes by, accelerating. The win-
          dows opposite pick up speed as she leaves them behind--
                         
          And then she has the same illusion again-- a "Vronsky" and a "Sorokina"
          glimpsed in the other train and snatched away in the instant.
                         
          Now she stands up and goes to the opposite window, where the windows
          of the other train are flashing by in the (anachronistic) manner of pro-
          jected film-frames, and she sees "Vronskys" and "Sorokinas" flashing by at
          gathering speed. And then the train has gone and there's nothing going by
          but the view.
                         
          Anna collapses into the nearest seat.
                         
                         
          EXT. LOCAL STATION, SAME TIME--DAY
                         
          The train arrives at a small station.
                         
          Anna steps down from the train. The platform is well populated by people
          waiting to board the train or to meet the arriving passengers. There is an
          energy about the people-- shouting, laughter, movement. Porters shout for
          custom. A couple of Young Men seem to be laughing rudely directly at her,
          but they pass by, ignoring her.
                         
          Anna pauses, bewildered, lost, not knowing what to do next.
                         
          She sees the Sorokina Coachman on the platform, recognising his distinctive
          livery, a cockade in his hat.
                         
                          ANNA
           Are you waiting for the Princess Sorokina?
                         
                         
                         
                         
                          192
                          COACHMAN
           No, Your Excellency, both princesses are at
           the house of Countess Vronsky. I'm waiting
                          FOR HIM--
                         
          Anna turns back, agitated, expecting Vronsky to appear, but what comes
          is a Footman carrying three hatboxes and a large box from a dress shop.
                         
          Anna walks away, along the platform, impeded by people going by her,
          aware that some are staring at her as she passes. A Boy selling drinks grins
          at her. A little group of Ladies and Children meeting a bespectacled man
          off the train are laughing and chattering but fall silent and look at her. She
          increases her pace. She hurries away towards the far end of the platform.
          Beyond her, a goods train is slowly approaching. Between her and the train,
          two Maidservants are walking towards her. They turn their heads to look
          at her, remarking on her dress.
                         
                          MAIDSERVANT
           Look at that lace on her . . .
                         
          There is a rough bench near the end of the platform. Anna reaches it and
          sits down. The two girls turn again to look back at her, and are struck
          by the sight of Anna sitting alone in profile. The goods train reaches her
          and the first wagon goes past her. The two girls stop and watch, vaguely
          puzzled by her.
                         
          As they watch, the beautiful woman on the bench gets up and walks the
          few steps to the edge of the wooden platform and into the path of the train,
          disappearing from view between the wheels of one of the wagons.
                         
                         
          EXT. (POKROVSKOE)--DAY
                         
          CLOSE--A SCYTHE CUTS A SWATHE THROUGH
           STANDING HAY.
                         
                         
                          193
          EXT. RAILS--THE RED HANDBAG
                         
          --lying separate against a rail, is clipped by a rolling train-wheel and
          knocked aside, spilling its contents . . .
                         
                         
          EXT. (POKROVSKOE)--DAY
                         
          A scythe cuts a swathe through standing hay.
                         
                         
          EXT. HAYFIELD, POKROVSKOE, SAME TIME--DAY
                         
          It's nearly the last of the hay. The scythe is being swung by Theodore,
          known from last year. He is one of a dozen Mowers. Levin is among them,
          wielding his scythe. They have almost reached the end of the field, where the
          last of the hay is being pitchforked up on to the last piled cart. Theodore's
          daughter-in-law, now visibly pregnant, is still adept with a pitchfork.
                         
          It's a lowering thundery day at the end of summer.
                         
                          LEVIN
           I'll be buying in feed before winter's over.
                         
                          THEODORE
                          (SCYTHING)
           Well, you don't press people hard, but you
           live rightly, for your soul, not your belly.
                         
                          LEVIN
           My soul! What's that? I know what my
           belly is. How do we know what's rightly?
           I believe in reason.
                         
                         
                         
                         
                          194
                          THEODORE
           Reason? And was it reason that made you
           chose a wife?
                         
                          LEVIN
                          (PAUSE)
           No.
                         
                          THEODORE
           You're a great one for reasoning, Konstantin
           Dmitrich, but what's rightly is outside your
           mathematic--that's what's rightly about it!
                         
          This stops Levin's scythe. He is illumined.
                         
          Theodore swings the scythe again. Levin walks away, gives his scythe to a
          Labourer by the cart, and keeps walking. He quickens his pace.
                         
                         
          EXT. POKROVSKOE--DAY
                         
          The first drops of rain, few and heavy, arrive.
                         
                         
          EXT. HOUSE AND PORCH, POKROVSKOE, SAME
                          TIME--DAY
                         
          Cries of alarm and laughter burst from a Mushrooming Party approaching
          the house. Children run ahead, the adults walk faster, then run, helping
          with baby carriages and picking up small children and baskets of mush-
          rooms . . . urged on from the porch by Agafia.
                         
          Levin, coming from the hay field, joins the rout.
                         
                         
                         
                         
                          195
          The grown-ups are: Levin, Oblonsky, Dolly, the Oblonsky Nurse, Prince
          and Princess Shcherbatsky.
                         
          The children are: Tanya, Grisha, Masha, Lili and Vasili. Dolly carries
          her youngest. The children are eighteen months older than when we first
          saw them.
                         
                         
                         PORCH
                         
          The heavens open as everyone gets under cover.
                         
                          LEVIN
           Where's Ekaterina Alexandrovna?
                         
                          AGAFIA
           It's all right, the mistress is giving Mitya
           his bath.
                         
          It is evident from her tone that Kitty and Agafia have made it up long ago.
                         
                         
          INT. NURSERY, POKROVSKOE, SAME TIME--DAY
                         
          Rain on the window and on the roof. The rain is so loud that it is the
          foreground sound in the scene; and the dialogue, while we can pick it out
          without difficulty, is the background sound.
                         
          Levin enters, wet.
                         
          Dmitri (Mitya), two months old, is lying on his back in a basin, supported
          by Kitty's palm under his head. Kitty squeezes a sponge over his body,
          which he likes.
                         
                         
                         
                         
                          196
                          LEVIN
           I came looking for you . . . I understood
           something . . .
                         
                          KITTY
           And what was that?
                         
          Kitty lifts Mitya onto a towel on her lap, wraps him and gives him to
          Levin, who is enchanted by him.
                         
                          LEVIN
           He smiled at me.
                         
                          KITTY
                          (UNCONSCIOUSLY ABSURD)
           He's very advanced for his age.
                         
          She picks up her rings to replace them on her fingers.
                         
                          KITTY (CONT'D)
           What did you understand?
                         
          But the baby starts to yell for the breast. Kitty starts to undo her blouse.
                         
          Levin shakes his head: he'll tell her some other time, or maybe not.
                         
                         
          EXT. PORCH, POKROVSKOE--NIGHT
                         
          The storm has passed. Everything drips.
                         
          Oblonsky comes from inside and lights a cigar. Indistinctly seen and heard
          through the window, the Mushrooming Party occupies the dining room.
          Oblonsky smokes thoughtfully, melancholy.
                         
                         
                         
                          197
          EXT. FLOWERING MEADOW--DAY
                         
                         SPRINGTIME
                         
          Baby Anya, old enough to stagger on her feet, wavers through wild flowers
          half her height. She falls over, almost disappearing.
                         
          This is being watched, with a mixture more pleasure than pain, by Kar-
          enin. He is in early retirement, sitting with a book in a garden seat, dressed
          comfortably under a straw hat. There is the SOUND OVER of people
          playing croquet.
                         
          Serozha, aged ten, enters his view, going to Anya to haul her upright, and
          keeping hold of her hand as she staggers on. Karenin's pleasure increases
          slightly.
                         
          OVER this, the growing SOUND of a battlefield.
                         
                         
          EXT. BATTLEFIELD (BALKANS)--DAY
                         
                         CLOSE
                         
          Vronsky, in an unfamiliar uniform, sabre pointing forward, is mounted at
          full gallop with the SOUND of the charge all around him in the smoke and
          noise of guns. Something heavy and invisible with its own SOUND--like
          the flap of an awning--takes him from his horse into the air and gone,
          leaving spouts of blood poised for an instant in the smoke.
                         
                         
          EXT. FLOWERING MEADOW, AS BEFORE
                         
                         NATURAL SOUND
                         
                         
                         
                         
                          198
          Serozha picks up Anya like a parcel under his arm and walks on with her
          towards the indistinct figures of Croquet Players strolling in the heat haze,
          a couple of parasols held aloft.
                         
                         
          FADE TO BLACK.



Anna Karenina



Writers :   Tom Stoppard
Genres :   Drama


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