Dark screen
SOUND of heartbeat, then a spray of sparks, then sound of two heartbeats and total silence.
ext - Voronet monastery day
The sound of tourists snapping pictures of the celebrated 14th century monastery in Moldova, Romania, noted for its Byzantine style relief of religious murals adorning the entire outside of the building.
Several people are touring the monastery, admiring the murals, touching the walls of signature blue.
plains beyond voronet dusk
VERONICA ISTOVA EMERGES in the distance. She is a young woman, early twenties, dark curly long hair. She is worried, weary. She looks anxiously about as though she is afraid. She clutches her coat at her throat and heads towards Voronet.
GEORGE, a local peasant is driving an ox cart filled with wood toward the monastery gate. He observes Veronica, then takes off his cap, scratches his head and watches her make her way. He drives in behind the compound.
int - church
A few people scatter slowly and eventually empty out past Veronica, who is standing near the entrance. The iconostasis (altar screen) and walls are done in traditional Orthodox icons of saints and scriptural scenes. There are many candles burning. When the last person has left, Veronica makes her way to the front of the church, and stares at an icon of the Virgin Mary.
Her wool skirt is snagged and her legs scratched. Her hands are trembling. Her face is sad and her eyes, full of tears.
There is a time lapse with the candles having burned down. Veronica is still fixed in place, her one hand still holding her coat close at her chest. MOTHER PARASCHIVA enters and spies Veronica from the back of the church. Veronica’s face is glowing with perspiration. Delicate foam seethes from her forehead and face like a mist of seltzer and a soft FIZZING sound is heard.
Paraschiva comes beside her.
PARASCHIVA
Ma scuzati, domnisoara, este tirziu--asteptati pe cineva?
Veronica is silent.
PARASCHIVA (CONT’D)
Excuse me Miss, it is late and everyone has gone. Do you wait for someone?
Veronica clutches her coat tighter at her throat.
PARASCHIVA (CONT’D)
I can see you are, how you say, troubled, yes? Perhaps I can help you.
Veronica lowers her head. She looks weak.
PARASCHIVA (CONT’D)
Will you share our table? A little something to eat...?
Veronica wavers, and Paraschiva catches her, then steadies her, curious about the stranger’s behavior. Veronica avoids looking at Paraschiva.
VERONICA
May I stay a while?
PARASCHIVA
(concerned)
Of course, child, you may stay as long as you wish. You are speaking English, but I don’t think you are American, yes?
VERONICA
No. I am not American.
The candles SPUTTER, wax collects in pools. Paraschiva studies Veronica, while steam rises from candles.
PARASCHIVA
Where are you from, child?
VERONICA
It doesn’t matter. I don’t want to remember the place.
Paraschiva is surprised and visibly concerned. My English is very bad, please, I don’t understand--are you running from something?
One candle FLICKERS and goes out. Veronica’s expression becomes grave, anguished. Her eyes fill with tears and a fine MIST continues to emanate from her skin, like steam. Paraschiva strains her eyes by the dimming light of the candles, not certain of what she is seeing.
VERONICA (cont’d)
I am lost from myself. Do you know? How could you know?
PARASCHIVA
You are safe here. It is a good place to be when you are troubled, or lost.
Paraschiva begins to bite her nails, as is her custom when she is perplexed. She squints and assesses the woman next to her. Veronica lowers her head again. Paraschiva touches her shoulder.
PARASCHIVA (cont’d)
(gently)
What is your name, child?
Veronica begins to weep. Paraschiva unfurls her sleeve around Veronica’s shoulders when at once Veronica collapses. Paraschiva shrinks to the floor too.
PARASCHIVA (cont’d)
Holy Mother of God! Here--let me help you--oh!
As Paraschiva tends to Veronica, she notices blood on her hands and then sees blood on Veronica’s chest.
PARASCHIVA (cont’d)
You’re bleeding! I must get help.
Paraschiva pulls a handkerchief from her sleeve and presses it over Veronica’s chest, then puts Veronica’s hand over the cloth. She leaves quickly.
hallway
Several NUNS hurry into the church.
Church
The nuns lift Veronica up and carry her out of the church. There is only the sound of their garments rustling, and their hurried footsteps.
int - chamber
Veronica is laid on a bed. The sisters remove her coat and loosen her clothing quickly, noticing the bloodstain on her chest. They cover her with a coarse blanket. Veronica is beginning to lose consciousness.
The sisters rub her feet and hands, moistening her face and forehead as they talk amongst themselves in whispers and hushes.
Paraschiva bends close to Veronica’s face holding an oil lamp.
PARASCHIVA
Be still, and do not worry. We will take care of you. Make me a sign that you understand.
Veronica winces then tries to focus.
PARASCHIVA (cont’d)
This is good. You understand me. Have you some pain? Can you show me? Do not be afraid--
Veronica cranes her neck and searches the faces of the sisters that blur and fade as she loses consciousness. She reaches her hand behind her head as though feeling for something. A spasm makes her whole body rigid, then limp.
VERONICA
Don’t touch me.
Veronica passes out and we hear the SOUND of fizzing, sparking.
ext – close up of frescoes on facades.
int – chamber
Paraschiva and the sisters pause at the SOUND of fizzing and marvel at the spray of fine sparks that seem to be originating from Veronica’s body. They all step back in amazement, then quietly, but frantically continue to tend to Veronica.
PARASCHIVA
(rolling up her sleeves)
We must see to the wound--give me bandages.
The sisters are huddled, frenetic as Paraschiva washes the site. Suddenly everyone stops. Close up of Paraschiva’s hand wiping the blood from over Veronica’s left breast; there is no wound. Blood oozes from the skin.
ext - close up of frescoes on facades.
The painted walls begin to blister and a mist emanates from the walls.
Int - chamber
Paraschiva and the sisters exchange gasps.
SISTER 1
(crossing herself)
There is no wound.
SISTER 2
She bleeds, and there is no wound!
PARASCHIVA
Child! Child! Can you hear me?
SISTER 3
(touching Veronica’s forehead, and recoiling her hand)
Oh my God!
Veronica stiffens suddenly as if from a spasm then goes limp. She moans softly. Paraschiva’s handkerchief falls to the floor and one nun picks it up and looks bewildered.
PARASCHIVA
What is it?
three days later chamber day
Veronica is lying in bed. The room is sparse and clean. Paraschiva is soaking Veronica’s eyelids open. Her skin is pale. She moans a little then opens her eyes with difficulty, and sees Paraschiva’s face come into view.
PARASCHIVA
(crossing herself)
Thank God, you are alive!
The sisters enter with a fresh water basin. One of them sponges Veronica’s face and her swollen lips. Another Sister is staring at Veronica’s chest until Paraschiva reproaches her with a stern glance.
NEXT DAY CHAMBER
Veronica is in bed, but awake, and wriggles out from under the sheets. She is alone, studies the room and makes for the window slowly where she looks out curiously. Her manner is odd; she seems to take great notice of everything as though it were a unique scene for her. She touches everything, smells the room, even the objects she handles.
ext - plains beyond voronet
GEORGE approaches driving the ox cart.
int - kitchen
The nuns are talking, baking bread. The room is filled with light. They have flour dust on their habits.
SISTER 1
(sinking her hands into a heap of dough)
Who do you suppose she really is?
SISTER 2
A stray lamb.
SISTER 3
It’s a sign, I tell you.
Paraschiva enters and evaluates the scene.
PARASCHIVA
I need the young woman’s clothes.
SISTER 1
I will get them for you. I mended the skirt and washed the blood out of her blouse. They are hanging on the line--
PARASCHIVA
(bringing her hand to her mouth)
Did I hear George bring the wood?
SISTER 2
Oh no! Do you think he noticed?
PARASCHIVA
Bring her things--quickly.
The Sister leaves the kitchen.
SISTER 2
But what if he asks--
PARASCHIVA
Burn them in the stove. I will handle George.
EXT – MACHIAJ INSTITUTE FOR THE GIFTED – EVENING
int - dr. julia machiaj’s office – LATER
Rich Baroque interior, fully furnished with desk, bookshelves, paintings and tapestries on the wall. A fish aquarium hums and gurgles softly; a light burns at the desk where JULIA, psychiatrist, founder and director of the Machiaj Institute for the Gifted, is working. She is middle-aged, very attractive, aloof. She looks mildly fatigued as she plays with a wisp of her hair, slips off her shoes and draws her bare-stocking feet up under her. She leans forward and presses the button on the tape machine, listening with great interest to the sound of her own voice.
julia (VO)
Antonio is making progress. He seems more willing to talk about his work, though he still struggles with blues and greens. His synaesthesia seems most active with those colors. I have increased his meds.
She strokes her forehead and extends her hand as she checks her nails.
There is a quick knock and the door opens abruptly. Lydia, Julia’s assistant, enters. She is around 35 years-old.
LYDIA
Better come quick.
ext - bucharest securitate headquarters – day
int – corridor -- CONTINUOUS
BELA UDVARI is walking nervously back and forth in the hallway. He has a high forehead, ruddy cheeks, thick black hair and heavy brows and mustache. He is an obstetrician/gynecologist with a specialized background in genetics. He crushes a cigarette beneath his heel when a DOOR OPENS. MIHAI CICALA, the minister of the interior waves the smoke from his face and greets Bela ceremoniously.
CICALA
Tovaras (comrade) Dr. Udvari! How good of you to come. Please, step inside, please.
Bela nods and enters, and immediately sees Captain PICARIU leaning against the window frame. He is tall and slender, handsome but edgy, crisp, groomed and severe. His bearing and uniform imply he is also a much-feared officer in the “Securitate”, Nicolae Ceausescu’s infamous security force. (They are similar in character and method to the German SS.)
The room is spartan with an overhead ceiling fan and a portrait of Ceausescu on the wall.
Cicala (conT’d)
May I present Captain Liviu Picariu--Dr. Udvari. Well, then, Captain Picariu has been assigned to this case-- oh! a mere formality, you understand, dear doctor. He will assist us in finding the Istova woman. I have assured him of your total cooperation.
Bela gives a subservient nod. There is obvious tension between the Captain and the doctor. He takes out a handkerchief and pats his forehead, then puts it away and extends his hand to the Captain.
BELA UDVARI
I am pleased to meet you, Captain; naturally I will do all that I can to help you--
CAPTAIN PICARIU
Of course you will. I have no doubt of that.
Cicala motions that they take a seat. He pulls a bundle of papers from his case. Udvari sits, the Captain remains standing.
CICALA
I have already briefed the Captain, to some extent--you understand, routine, oh, purely routine, doctor. He is not here to judge you, simply to ask you a few questions--standard procedure, you know all about this kind of thing. Now then, to refresh my own recollection of this case, let me begin with some background. And oh! Feel free to comment Tovaras doctor; you are, after all the expert, no?
Bela shifts uncomfortably in his chair, while Cicala rubs his lips with his fingers, as though contemplating. Captain Picariu lights a cigarette.
CICALA (CONT’D)
Veronica Vestegean was born on July 12, 1967, making her about 22 years old, correct?
BELA UDVARI
Correct, she--
CICALA
And she has a sister, Emilia, correct?
BELA UDVARI
A twin sister, actually--
CICALA
Yes, yes, a twin. But they were separated at birth, true? In fact, the mother and father—(checking his papers) Vincent and Irina Vestegean are not aware that they have two daughters? They think they have only one—-Emilia. Is this also true?
BELA UDVARI
Yes, Tovaras Minister Cicala, this is correct. You see, the project--
CICALA
So, in the course of twenty-two years you have monitored the twins as part of a genetic study. (Looking up), Why?
Bela Udvari
Well, Tovaras Minister, the patient, Irina Vestegean presented a very unusual delivery—
Cicala
(disaffected)
You have conducted controlled experiments on Veronica, keeping her identity a secret from her as well as her parents and sister?
BELA UDVARI
(relenting)
Yes.
CICALA
You may elaborate if you wish.
Bela straightens his neck.
BELA UDVARI
Thank you, Minister, yes; it’s true the twins have never met. Neither one knows that the other exists. You see, the idea was--
Captain picariu
Yes, what exactly was the idea, tovaras Udvari—that is a Hungarian name, is it not?
BELA UDVARI
(irritated, but ignoring the remark)
The idea was--
captain picariu
You have some fascination with young girls, doctor? Would a cure for cancer be so boring to research?
Bela is incredulous, Cicala rattles the papers impatiently and Captain Picariu strokes his mustache meticulously.
CAPTAIN PICARIU
What exactly were the security arrangements at your facility? And why do you refer to her as the Istova woman? Isn’t her name Vestegean?
Bela clears his throat laboriously.
BELA UDVARI
Well, first of all, it’s not really a facility; it’s more like a residence. I wanted to create a meaningful environment for her, you understand, to project a normal home. I could not very well convince her of her new identity if she felt she were my prisoner, could I? So I gave her an identity, beginning, with her name, which I chose for the feast day of St. Veronica—July 12th.
Captain Picariu folds his hands on the table and cocks his head, unimpressed.
CAPTAIN PICARIU
Feast day? I thought you were a man of science, and a good communist besides. No wonder you did not concern yourself with security measures. You were busy playing papa to some little saint creature, is that it?
Bela grows very defensive, and taps his finger on the stack of papers.
BELA UDVARI
With due respect, Captain, you do not appreciate the importance--
CAPTAIN PICARIU
Oh, I appreciate the importance of maintaining security, I assure you.
Bela becomes more agitated.
BELA UDVARI
There are walls that the mind erects and recognizes as boundaries. These are more insurmountable than your prison walls.
Captain Picariu shrugs his shoulders sarcastically.
CAPTAIN PICARIU
Yet she is gone. Poof.
Bela gropes for another cigarette, offers one to Cicala, who declines.
CICALA
In any case, we must find her quickly.
The Captain scoffs. Cicala stares over his glasses. Bela inhales his smoke insatiably once, then again.
BELA UDVARI
I will call on her sister, again. Perhaps she can give us a lead.
Captain Picariu and Cicala trade a glance.
BELA UDVARI (cont’d)
There has always been a connection between the girls, though it has become much stronger in recent months. I--
CICALA
This is all very interesting, tovaras doctor, but the particulars of your…your research, is really of no interest to us here. Why don’t you give the Captain a description so that he can get started?
BELA UDVARI
(resentful of the sarcasm)
She is small, lean, long dark hair--actually a replica, yes, of her twin.
Captain Picariu tugs smartly at his shirt cuffs.
CAPTAIN PICARIU
Any distinguishing marks?
BELA UDVARI
I’m afraid the things that distinguishher physiologically would escape your understanding.
Picariu loses his composure for a moment and responds in a threatening manner.
CAPTAIN PICARIU
Nothing escapes me, tovaras doctor, nothing, least of all some freak that has lived her life like a rat in a laboratory.
Cicala rises and claps his hands.
CICALA
That’s enough, gentlemen. Dr. Udvari, we all appreciate your investment in this project, both personally and professionally, but you must understand what is at stake here. You had promised to reunite the twins by their 18th year, and offer a splendid report at the London symposium. I believe you promised Mrs. Ceausescu the Nobel Prize--no?
BELA UDVARI
And Romania shall have the prize.
CICALA
I don’t have to remind you how embarrassing it would be to explain to President Ceausescu that this woman has vanished.
BELA UDVARI
(angry)
You cannot comprehend the implications of the work I have done.
CAPTAIN PICARIU
Look here, little man. You are expendable, you were granted this capricious project so that Elena Ceausescu could take credit for the Nobel Prize. Now I will clean up your mess and find this guinea pig you call Istova, and conclude your study for you.
CAPTAIN PICARIU (CONT’D)
You will no longer live off the generosity of the Party. You will go back to being an obscure Hungarian doctor and take your place among your own kind.
Cicala raises his hands for order.
CAPTAIN PICARIU (CONT’D)
You know, Mr. Minister, perhaps the good doctor has merely hidden her away. After all, it must be a difficult thing to sacrifice twenty years of your life to a project of this scope, only to give it away to Elena Ceausescu, eh?
BELA UDVARI
Don’t be a fool.
CICALA
Gentlemen!!
BELA UDVARI
If I were Romanian, your suspicions might have merit. I might lie or cheat as you did when you took Transylvania!
CAPTAIN PICARIU
Why, you stupid bug of a man!
Cicala is rankled.
CICALA
Stop it at once. Find the woman; find the Istova woman, Captain. And you, dear doctor, you will finish your study the minute she is returned.
Bela leaves the room. Captain Picariu laughs. Cicala gathers the papers and hands the stack to Picariu.
CICALA (CONT’D)
When you have her in your custody, gather the rest of the data and have it transposed into Elena
CICALA (CONT’D)
Ceausescu’s hand, and registered as her original work.
Captain Picariu
(haughtily)
Yes, I know the routine.
cicala
Then kill Bela Udvari.
int - dr. julia machiaj’s office day
JULIA is impeccably dressed, seated at her desk and talking on the phone.
JULIA
Well, fortunately the clinic is exceptionally quiet, so I have time to review your proposal.(BEAT)Thank you, I am very proud of the work we’ve done here. (BEAT) Well, our “colony” as you call it is unique in this regard. I think your client will find the treatment he needs here at the Institute. (BEAT)Property? Yes I might be interested in working something like that out. (BEAT)Thank you. Lydia will take the details, transfer of title, and the like, and we’ll be in touch.
She hangs up the phone, and exits.
ext - Voronet monastery day
A shiny black sedan is making its way to the gate. The door opens and the lustrous boot of Captain Picariu touches the ground.
back entrance to monastery
Paraschiva opens the door. The Captain is pulling the gloves from his hand. He takes Paraschiva’s hand and kisses it.
CAPTAIN PICARIU
May I come in?
PARASCHIVA
Please. Welcome to Voronet.
CAPTAIN PICARIU
Such a quaint little shrine you have here, tovarasa. In Bucharest we find such buildings tiresome, useless. You would be surprised to see how ordinary they look when reduced to a pile of rubble.
PARASCHIVA
You are welcome just the same, Captain.
He strolls arrogantly around the kitchen.
PARASCHIVA (cont’d)
Perhaps the Captain would like to light a candle?
He scoffs.
CAPTAIN PICARIU
Oh, dear lady, your primitive rites are of no interest to me, and your preoccupation with such foolishness reminds me of how many like you are rotting away in prison for their dissident activities.
PARASCHIVA
Have you come to arrest me then, Captain?
CAPTAIN PICARIU
(thoughtful)
You had a visitor here recently.
PARASCHIVA
We have many visitors, Captain.
CAPTAIN PICARIU
You gave lodging to a young woman--where is she?
PARASCHIVA
We occasionally invite people to share our table, Captain, but we do not give lodging--it is prohibited.
The Captain tightens his gaze and leans in closer.
CAPTAIN PICARIU
Where is the young woman who came to Voronet? A mousy woman, small, pathetic, early twenties, long dark hair, dressed in a skirt...and blouse?
Paraschiva knits her brow, strategically appeasing the Captain.
PARASCHIVA
Yes, there was a young woman as I recall, a foreigner, I remember now. Forlorn, poor--she declined our invitation for dinner. I left her sitting in the church, and when I returned, she had left.
CAPTAIN PICARIU
And you did not give her refuge?
PARASCHIVA
She did not ask for it.
CAPTAIN PICARIU
Then I may look round?
paraschiva
This is God’s house, Captain, you may search for your answers as you please.
He turns abruptly on his heels, steadies his frame, and then walks aggressively toward her.
CAPTAIN PICARIU (cont’d)
You would not be the first martyr to die in prison, tovarasa.
PARASCHIVA
Nor the last.
CAPTAIN PICARIU
(slyly)
Voronet exists as an amusement for tourists. I urge you to think twice before you risk seeing it destroyed.
ext – voronet
The Captain walks angrily to his car. He steps in a mud puddle.
CAPTAIN PICARIU
Goddamn mud! Bring me something to wipe this with--there--some water from the well!
Paraschiva casts a rapid eye.
PARASCHIVA
Please, allow me Captain.
She bends down and wipes the mud from his boot with the hem of her gown.
The Captain squints. He helps her up, and then kisses her hand--suggestively.
int - close up well
Veronica is hiding there.
int - chamber
Veronica is at the window. She reaches her hand inside her blouse and removes a swatch of white cloth. A close up of the swatch reveals a detailed image in the fabric of a funeral procession. She places it in between the pages of a worn prayer book on the table. Paraschiva enters.
PARASCHIVA
You are in danger here, Veronica. But I have arranged to send you somewhere safe.
Veronica nods.
PARASCHIVA (cont’d)
Tell me, do you like music? Do you like to dance?
Veronica smiles gently.
PARASCHIVA (cont’d)
You look like a dancer.
ext - village day
int - wooden hall
NELU and SANDU are dancers in a folk ensemble practicing the traditional calusu dance. There are several performers rehearsing, musicians are practicing, and the director is shouting. Veronica is watching, much evolved, happy, alert, and swallowing the various activities with her eyes.
The musicians are displaying their virtuosity when all of a sudden someone CALLS out.
Veronica is DANCING, executing the calusu dance step for step to the amazement of all.
Nelu and Sandu are dumbfounded.
NELU
Well I’ll be damned, look at this!
SANDU
Hey--Veronica--where did you learn to do this?
She looks radiant, catching her breath.
VERONICA
I told you. I just dance, it just...comes to me naturally.
SANDU
It must run in your family.
Veronica reaches her hand behind her head, curiously, as if she is dizzy, in pain. Nelu observes.
NELU
You’ve pulled a muscle, haven’t you? Let me rub it out.
SANDU
I’ll help.
Veronica is startled by Nelu’s touch and shrinks a bit.
NELU
Relax, I’m not going to hurt you...there...doesn’t that feel nice?
VASILE enters, goes to Nelu and pulls him aside.
VASILE
She has to be moved. Now.
SANDU
What is it, what’s wrong?
They glance at Veronica and step away together.
VASILE
The driver was found in a car wreck.
SANDU
So he had an accident.
VASILE
No accident. He was beaten to death, securitate style.
SANDU
Do you think he talked?
VASILE
(shrugs)
Can’t take that chance. She has to go.
NELU
But where?
Veronica looks on.
VASILE
I’ll figure something out. Thank God you’ll be leaving in the morning. At least they won’t find you boys here. I’ll be in touch, and if there is a problem, stay where you are and ask for political asylum; just don’t come back.
Nelu and Sandu exchange worried glances.
VASILE (cont’d)
We’ve been through this kind of thing a hundred times, haven’t we. How many poor bastards have we helped escape from this place. Maybe our luck has finally run out.
NELU
Wait--we could take her with us.
SANDU
What? Don’t be stupid. She’s not one of us--the visas are all stamped and ready to go, it won’t work.
Nelu waves to Veronica.
NELU
Watch this.
He pulls her beside him. Taps out the beat and then begins a series of steps. She shadows him beat for beat. Vasile and Sandu shake their heads and smile.
SANDU
We could dress her as a man--a boy, rather.
NELU
(walking around her)
I think it might work. We’d have to cut her hair, glue some of it for a mustache on her upper lip--she could pass for Petrica.
VASILE
And what do we do about Petrica?
SANDU
I’ll take care of Petrica.
int - train station night
The ensemble is milling about, tossing baggage, and boarding the train. Sandu, Nelu and Veronica make their way through the crowd. The Securitate is present, scrutinizing everyone.
CHAPERONE
Hey--Petrica!
The three pause.
Vasile shouts from the crowd and creates a diversion.
VASILE
Someone left his boots! Here! I’ve brought them!
CHAPERONE
Give them to me, I’ll see to them.
VASILE
Good luck!
SOUND of the train WHISTLE. Nelu, Sandu and Veronica quickly board and disappear in the back of the train.
int - dr. julia machiaj’s office
Julia removes a hand-mirror from her desk drawer and checks her face, makeup and hair. She is wearing a red dress. She puts the mirror down, retrieves a pair of pearl earrings from a little box in the drawer and puts them on. She shakes her head coquettishly and then sets to work. She reads from a stack of materials on her desk then begins her dictation.
LYDIA (OS)
Excuse me, Julia, Dr. Binzer has arrived.
Julia pauses then draws a deep breath.
JULIA
Send him in--oh, and bring in that report as soon as you’ve finished it--thank you.
Julia quickly rouges her lips without looking into a mirror. She stretches her shoulders back and then rises, self-conscious of her every detail The DOOR OPENS.
PETER BINZER enters. He is tall, slender, with Anglo features, neat and attractive. Julia looks him over, smiles, and holds out her arms.
JULIA (cont’d)
Peter...Peter how good of you to come, and on such short notice. It’s nice to see you, come in--come, come, come in.
Peter strides towards her, embraces her warmly, takes both her hands and looks her over. They stand close without speaking, and after several bantered smiles he kisses her.
PETER
Ah, Julia, red becomes you--how stunning you look in that dress.
JULIA
(laughing softly)
I am well, Peter. So tell me, how was your trip?
PETER
Fine, just fine.
Julia touches the hair at his temple, observing the grey.
JULIA
Is this new?
PETER
(he chuckles)
I sensed an urgency in your cable, so I came straight away.
JULIA
(walking over to the credenza)
Tea?
PETER
What a wonderful place you’ve made for yourself, Julia.
JULIA
I can’t believe that for as many times as we’ve run into each other over the years, you’ve never once visited me here.
PETER
I can’t believe you’ve never invited me until now.
She is momentarily disarmed, recovers, hands him his tea, and lingers a second before returning to her desk.
JULIA
Your specialty is multiple personalities.
PETER
Aha! A consultation at last, and here I thought you missed me.
JULIA
Peter, please,
PETER
We’ve never once consulted, my dear--conferred yes, and a good deal more besides, but consulted? I’ve dreamed of such a thing!
Julia chuckles deliberately, tracing the arch of her eyebrow with her finger.
Binzer observes, and clears his throat.
PETER (cont’d)
Uh-oh, serious as all that?
Julia straightens the papers on her desk, and folds her hands.
PETER (cont’d)
Good heavens, Julia, what is it, then?
Peter nods encouragingly, while searching through his pockets for his pipe and tobacco. Julia collects her thoughts.
JULIA
A young woman appeared on my doorstep, supposedly smuggled out of Romania, no papers, no ID.
Peter looks surprised.
PETER
That’s not like you to accept just anyone, Julia.
JULIA
Don’t think I haven’t had a nightmare over this one, but at the time, well, I had no choice. Besides, she was referred by another patient of mine, but that’s a whole different story.
PETER
I don’t follow.
Julia drops her face in her hands.
Peter seeks her attention.
PETER (CONT’D)
Tell you what, let’s skip all that for now, why don’t we just get to it. What’s her name?
JULIA
Veronica Istova. Caucasian female, approximately 20-23 years old, 45 kilograms, 1.65 cm in height, irregular breathing, tachycardia, BP 90/60,fever, hemorrhaging of the left breast area.
Peter leans back in his chair and folds his arms across his chest.
PETER
So, wounded, in shock...good lord, why didn’t they treat her at some local hospital in--where did you say she came from--Rumania? Why would anyone risk such a journey to come to see you? Not that you’re not worth the trip.
JULIA
(attitude changing)
Oh, Peter, it was unlike anything I’ve ever seen. She was absolutely bleached of color, drained of life, literally.
PETER
No doubt. She was bleeding to death. So was she shot? Stabbed?
JULIA
I haven’t determined the nature of the wound.
PETER
Puncture? Laceration?
JULIA
Let me try to explain. She was semi-conscious, and the escort just left her here. I had to clean the wound--there was blood soaked through her blouse--but after I irrigated the site, there was simply nothing there.
Peter is incredulous.
PETER
Nothing where?
JULIA
(squinting)
There was no wound. Nothing to account for her bleeding. Yet she bled.
Peter rises from his seat and shuffles through the papers on her desk.
PETER
What are you saying to me? How are you explaining this?
JULIA
I want you to examine her.
PETER
I should think you might want someone else to have a look. This is really quite out of my expertise, although it is intriguing. Why not call a—- priest, or something.
Julia is annoyed.
JULIA
A prie---priest? Whatever for? She doesn’t need an exorcism for God’s sake; she’s not possessed! Honestly, Peter.
PETER
Well if she were possessed, I might be useful. Multiple
PETER (CONT’D)
personalities indulge in that kind of thing.
JULIA
(gently)
Just examine her, Peter, do it for me.
He looks at her intensely, she runs her gaze all over him.
JULIA (cont’d)
If it was something I thought I could handle, don’t you think I would? Her strong disociative responses require that I rule out multiple personality disorders.
Peter tugs at his earlobe.
PETER
I’m the only one you’ve told I take it?
JULIA
You’re the only one I can trust. I can’t afford to risk everything I’ve built here; I’m under constant scrutiny as it is for my work. Of course Lydia knows.
PETER
Well, we’ll have to attack on two fronts. One, are the origins of her bizarre bleeding psychologically in concert with multiplicity, or two, has her reaction to this pathological diapesis produced these disociative responses we mistakenly call multiple personalities. You must rule out one or the other, and that, my dear, means that at some point you will be forced to call in experts. Won’t be easy.
Julia sighs deeply.
JULIA
Will you?
PETER
Examine her? Of course. Can you?
JULIA
Can I what?
PETER
Handle it? I mean, it will challenge you professionally and emotionally. You ran from such things before as I recall.
JULIA
I need you, Peter.
Peter
Do you?
A tense emotional exchange betrays a history between them.
Julia
Now I need you.
Peter nods ever so slightly, then recovers to the matter at hand.
PETER
Does she hear voices? Does she describe seeing visions of any kind? What is her explanation for the bleeding--have you asked her? Can she control it? Produce it at will?
Julia is reanimated, and turns to the file on her desk.
JULIA
No, no as far as voices, she doesn’t hear them although she references being “called”, but not like a vision, more like a presence.
PETER
Offhand, I’d say paranoid schizophrenia seems a more likely--
JULIA
No, I disagree. And as far as the bleeding, well, she says it’s not the blood of her body.
PETER
Really?
JULIA
She says she would be dead by now if it were her own blood. Interesting point, I think.
PETER
Indeed. But whose blood is it, then?
JULIA
Her soul. Peter, she says her soul was cut in half and that’s why she bleeds.
LYDIA KNOCKS and ENTERS. Peter rises and admires Lydia.
PETER
How do you do it? I’m on my fifth secretary. Can’t seem to keep them.
JULIA
Lydia’s prepared your room--I’m sure you’ll be comfortable there. After you’ve rested, you can look over these reports.
flashback
ext - vincent’s front door - 1966 day
A special AGENT in a navy blue suit KNOCKS, and VINCENT opens the door.
AGENT
Vincent Vestegean?
VINCENT
That’s right, who are you?
AGENT
(showing ID)
Special agent Dobry. I’d like to talk to you if I could?
int - living room
Ordinary furnishings, a couple of colorful hand embroidered tablecloths, distinctively Romanian. The Agent surveys the room.
VINCENT
Relax--Dobry--is it? Don’t you think I’d be the first to know if my own house were bugged? Have a seat. Want a drink?
AGENT
No thanks. I’m here on official business.
VINCENT
I told those guys I wasn’t interested in cutting a deal with them. That is why you’re here, right?
AGENT
Do you recall the names of the men who came to see you?
VINCENT
Christ, I have enough trouble pronouncing my own name. My dad never changed it when he came to this country. Let’s see, the one was Mircea Limpede--don’t ask me to spell that--and the other, um, Mihai Cicala, yeah, that’s it.
AGENT
And what exactly did they ask you to do?
VINCENT
Well, they wanted to contract my services for a couple of years, you know, they wanted me to bid on contracts being let for design and development of surveillance equipment.
The agent looks up from his note-taking.
VINCENT (cont’d)
Hell, Dobry, they wanted me as a technical expert to consult on the manufacturing of surveillance devices in Romania, so they can spy on people.
AGENT
So they pretty much wanted you to do what you do for the United States government?
VINCENT
Sure, except they wanted me to do it cheaper and better. Imagine that. Kind of capitalistic for a communist country, don’t you think?
AGENT
Did they offer you any money?
Vincent laughs then realizes how serious this must be.
VINCENT
You mean did they offer me a bribe? Is that what you’re asking? Or are you asking if I actually took the money already?
AGENT
Just answer truthfully.
VINCENT
No. I mean it never got that far. I’m aware of the provisions of my contract. Do you think I would jeopardize my relationship with my employer?
AGENT
We know that a delegation from a third world country has approached you, and solicited your services. We’re concerned that there has been a breech in security, since they seemed to know who you were, and what your job with the government was--
Vincent is provoked.
AGENT (cont’d)
--is. Look, take it easy. We know they made you before they contacted you. We also know you didn’t tell them anything. We just want you to help us find the leak.
Vincent pours himself a drink, and offers one to the Agent. He refuses.
AGENT (cont’d)
Mircea Limpede is technical advisor to the Romanian Intelligence division called the “Securitate”. The other man--Cicala, is Minister of the Interior. You were targeted in the first place because you are of Romanian extraction. In the second place, you have a very special talent. They keep tabs on things like this; they like to use their own kind.
Vincent bristles.
VINCENT
Hey, I’m my own kind. I’m a businessman, a civilian, a regular guy.
AGENT
We’ll be in touch if we need you.
int - goverment office
VINCENT slams a letter on the desk of R.J.Collingsworth.
VINCENT
What the hell is this all about?
Collingsworth is a CIA “company” man, suave and aloof. He doesn’t look at the letter, and keeps his eyes glued on Vincent.
COLLINGSWORTH
Your contract is void. You violated a condition of our
COLLINGSWORTH (CONT’D)
agreement, so Vestegean Industries is no longer in a position to design and manufacture surveillance equipment for the company.
VINCENT
(angry, nervous)
That’s not fair.
COLLINGSWORTH
And all of your patents have been revoked.
FLASHFORWARD
int - guest room machiaj institute night
Peter stretches, having just read over the files. He walks about the room, exploring the art objects.
int - library
Julia is making rounds, talking with SERGEI, the Russian poet, and ANTONIO, the Italian artist. The setting is very intimate.
int/ext - guest room machiaj institute.
Peter opens the french doors onto the balcony, and takes in the view.
int - dr. julia machiaj’s office
Julia is checking her makeup in the mirror and hears a KNOCK at the door. Peter opens the door and enters.
She quickly smoothes the back of her calf, checking her stockings, and greets him with a smile.
PETER
Am I disturbing you?
JULIA
Not at all, I’ve just looked in on my other guests.
PETER
Guests?
JULIA
I don’t call them patients.
PETER
Of course.
JULIA
I’m just brewing a fresh pot of coffee.
Julia tends to an elegant coffee maker, and fine china cups.
PETER
Wonderful. I could use some, I’ve just finished your notes--is that all there is?
He walks up behind her, stands very close, and smells her hair. She lingers, and reveals emotion on her face, but he cannot see it. She interrupts the moment and heads back to her desk. He seems not surprised.
JULIA
Well, what do you think?
PETER
I think you’re taking a tremendous risk treating her at all, based on a sketchy report at best.
JULIA
You’re an alarmist. Things are different here on the continent.
PETER
Tucked away in this remote mountain resort? Come on, Julia, there is still protocol, release forms, why, you can’t even be sure who this woman really is.
JULIA
I’m simply treating a patient in need of medical attention.
PETER
Are you, now? Your report is full of incongruencies, unknown variables, not to mention that stigmata thing. What’s wrong with you—you yourself said you can’t afford to attract this kind of attention.
Julia returns to the alcove and pours the coffee. Peter sits down. There is a bit of tension.
JULIA
It’s true, I might never have accepted a case like this under ordinary circumstances.
PETER
Don’t you think she’d have a better chance of being found if you gave her over to the authorities? Surely someone must be looking for her.
Lydia BUZZES on the intercom.
LYDIA (OS)
Excuse me, Julia--
JULIA
Hold my calls, please.
LYDIA
But it’s Phillip.
Julia brightens. Peter looks curious.
JULIA
Peter, darling, do you mind?
He waves his hand, aloofly. She pulls the earring from her ear and turns obliquely as her voice softens.
JULIA (cont’d)
Phillip, darling, what a nice surprise.
int - hotel room
PHILLIP CAPALIA talking on the phone. He is Julia’s son, and a talented violinist. He is intense, handsome.
PHILLIP
How’s my girl?
int - dr. julia machiaj’s office
JULIA
Fine, fine. I’ve been following the tour. They say you are magnificent.
Peter inclines his ear slightly.
int - hotel room
PHILLIP
Oh you know how it is. They say I am too temperamental at rehearsals, and that I’m--contrary--yes that’s it, contrary! But then they all want to drink champagne in my dressing room after the third curtain call. What about you--any new prodigies I should be worried about?
INT – DR. JULIA MACHIAJ’S OFFICE
JULIA
Nonsense, Phillip, there’s no one quite like you.
int – hotel room
PHILLIP
Mother--there’s something I need to talk to you about, I’m coming to see you.
int – dr. juLIA MACHIAJ’S OFFICE
JULIA
(surprised)
When?
int – HOTEL ROOM
PHILLIP
The first train out after my next concert--I have to go now.
INT – DR. JULIA MACHIAJ’S OFFICE
CLICK. Peter dusts his lapel, looking aloof.
PETER
Anyone I know?
JULIA
You mean Phillip? No. You haven’t met him. As I was saying, I purposely omitted some things from the Istova file--
She notices Peter is a bit put-off.
JULIA (cont’d)
He’s a patient of mine, so to speak, I’ve known him...since he was a little boy...
PETER
A younger man?
JULIA
Phillip Capalia.
PETER
The violinist?
JULIA
Yes. Now about the Istova case.
PETER
Quite.
JULIA
Let’s have a look at her, shall we?
int - guest room machiaj institute.
Veronica is by the window. Julia and Peter are in the doorway. Julia pats Peter on the lapel indicating he should wait to enter.
JULIA
Veronica, Veronica dear, I thought you might appreciate seeing a fresh face for a change. This is Dr. Binzer. He’s an old friend of mine, come from England to meet you.
Veronica looks askance. Snow is falling furiously at the window. At once Veronica looks directly at Peter.
PETER
(Observing her in detail)
PETER (CONT’D)
How do you do, Veronica--may I call you Veronica? It’s a pretty name.
VERONICA
I was named for a saint.
PETER
Is that so? Your family must be religious then?
VERONICA
I have no family.
PETER
Who has taken care of you?
VERONICA
Please, you must let me leave this place.
PETER
We will. As soon as are well. I’d like to examine you, if that’s alright.
Peter observes her as she sits down, and proceeds to steady her head, and looks her over.
PETER (cont’d)
Have you any pain or discomfort? I understand you were wounded.
He is palpating the lymph nodes along her neck and collarbone.
VERONICA
Yes.
PETER
Where?
VERONICA
You will not see it.
Peter bends her chin to her chest.
PETER
Oh, I don’t know, Veronica. I’m pretty good, they tell me.
PETER (CONT’D)
In fact, I’m very good at finding wounds that are hidden. Let me try, at least. Any childhood diseases? Measles? Mumps?
VERONICA
No.
PETER
Any injuries? To the head? Internal?
Veronica touches her hair, moves her fingers to the back of her head. Peter observes this.
PETER (cont’d)
Have you ever been in an accident?
Julia is attentive.
JULIA
The x-rays were clear.
PETER
Let me thump your back, then.
Peter is examining her spine, notices her hair.
JULIA
What is it?
PETER
No split ends--Have you recently cut your hair? Perhaps you’ve had a surgery--anything like that?
Veronica seems confused, anxious.
VERONICA
Just a haircut, that’s all.
PETER
Has someone harmed you in any way?
JULIA
Veronica, dear...are you in danger? You must tell us everything so that we can protect you. You are safe here
Peter feels the back of her head. He winks at Julia.
PETER
Have a look.
JULIA
(feeling behind Veronica head, and looking intently)
Why it’s a scar--I missed it completely.
PETER
No matter. It’s been there a very long time.
JULIA
What can you tell us about this scar, Veronica?
VERONICA
I’ve always had it. People have scars.
Peter retrieves a flashlight from his pocket and steadies her head. He flashes the light across her eyes, and seems baffled.
Julia looks down at the floor, uncomfortably.
JULIA
(acknowledging Peter’s expression.)
I know.
VERONICA
He’s going to tell me that I’m dead, isn’t he.
PETER
(shocked)
Her pupils are fixed and dilated. This woman’s in a bloody coma!
Veronica looks at Peter and Julia.
VERONICA
I am not dead, Dr. Binzer. Please, let me go.
Peter lays his hands on her shoulders and looks her square in the eyes.
PETER
You’ll forgive me, Miss, but you’re the first comatose
patient I’ve ever had a conversation with.
Julia hands Peter the stethoscope, anticipating his next move.
PETER (cont’d)
I’d like to listen to your heart, Veronica, please open you blouse for me.
Veronica complies, and a small dressing falls from the open blouse. Peter picks it up, peeks inside the blouse and sees nothing. He LOOKS again at the bandage, and stares incredulously. He sees a detailed impression of Captain Picariu.
JULIA
I can’t explain this anymore than I can explain her fixed and dilated pupils, except to say that in some cases of stigmata there is an additional phenomenon called hemopathy, which--as I understand it--describes the rearrangement of blood stains into symbols. Religious symbols, of course. But the physiological mechanism behind it...why, if I weren’t so intrigued by all of this I daresay I might truly be afraid.
Peter looks at Veronica, setting the swatch aside.
JULIA (cont’d)
Every time the dressing is changed, a different image appears in the cloth. There seems to be no common denominator, but it’s possible I’ve simply missed it. I
JULIA (CONT’D)
started to save them when I realized what was happening.
Veronica is becoming agitated. She begins to perspire, and her breathing becomes labored.
PETER
What is it, what’s going on?
Julia tries to calm Veronica. She makes her lie down, and immediately checks her pulse.
JULIA
There there, dear, everything is fine, you mustn’t excite yourself.
Veronica is trembling. Julia covers her with a blanket, and then pulls Binzer aside.
JULIA (cont’d)
She has had episodes...
PETER
What kind of episodes?
JULIA
Well--
Veronica is having a strange seizure. She begins to shake, and a hissing, fizzing sound is heard as she sweats profusely. A subtle crackling sound is heard, and small, micro sparks burst from her body.
PETER
Good Lord! Get me a sedative.
Binzer lays hands on Veronica to calm her down.
JULIA
Don’t touch her!
Peter recoils suddenly from an electrical shock given off by Veronica’s body.
JULIA (cont’d)
Peter!
Peter is overwhelmed. He rubs his fingers together.
PETER
Bloody hell! She’s all wet, she’s foaming, I don’t know how to describe it--like seltzer.
Close up of Veronica’s neck, shoulders, and face, with a fine fizzing liquid emanating from her skin.
JULIA
Veronica! Can you hear me?
Veronica’s body gives way to a spasm, and then micro sparks fly out form her body. Peter and Julia draw back in great bewilderment. In an instant, the sparks collect in a diaphanous vapor above her body. In another instant it is over. Julia rushes towards her, and puts her hand on her face.
JULIA
She’s cool and dry--look.
PETER
The sheets--
A fine cinnabar spray settles on the bedclothes.
flashback
Ext - park day 1967
Vincent is talking with Mircea Limpede. People are milling about.
MIRCEA
I’m sorry to hear you’ve lost your job.
VINCENT
Yeah, well, nothing lasts forever.
MIRCEA
Now that you have some time, perhaps you’d like to visit Romania?
VINCENT
Maybe I will make a trip to the old country some day.
MIRCEA
Oh, Mr. Vestegean, Romania is not an old country--it is the future. We have new goals, new visions.
Vincent laughs.
VINCENT
Oh, don’t believe everything you read in the papers. I’m not washed up yet. Just because the government has sent me packing doesn’t mean a better opportunity isn’t around the corner.
MIRCEA
Come to Romania. Walk the places where your father and mother walked. You are one of us; it is in your blood.
VINCENT
I’m an American, born and raised.
MIRCEA
All the more reason. You can come and go as you please. But you owe it to your father to see his native land.
int - parked van
Agents are monitoring the conversation.
AGENT 1
He’s taking the bait.
Ext - park day
Vincent is looking agitated, but maintains his composure.
VINCENT
Look, as soon as I get things straightened out with my patent, I’ll let you know.
Mircea rises, reaches into his breast pocket.
MIRCEA
Here is an open-ended ticket to Romania--first class, and some spending money. I know, I know, you are proud, Romanians are proud people. But take it. We are leaving in the morning. You do what you think is best, but remember, your father would be proud of you, we are proud of you. The Americans--they don’t appreciate you, they just use you.
int - parked van
The agents are satisfied.
AGENT 2
So do you think they fell for it?
AGENT 1
Yeah, I think so. They love disgruntled Americans. It makes bribing them so much easier.
AGENT 2
So what’s the story with this Vincent guy--is he loyal?
AGENT 1
As much as any of us, I guess. They had to threaten him with a lot of things to get him to roll over. I guess his patent means the most to him, so he’ll do anything to get it back, including working for the company.
int - airport night
Vincent is checking his bags. A CONTACT MAN in a dark suit COMES UP behind him.
CONTACT MAN
Do you have any final questions?
VINCENT
(sarcastically)
Yeah, I do. Who the fuck are you?
CONTACT MAN
I’m just one of many contacts, Mr. Vestegean, so get used to it.
They both smile nonchalantly.
VINCENT
(feeling something being slipped into his pocket)
What’s this?
The Contact Man looks around.
CONTACT MAN
Mail this the minute you arrive in Bucharest. It will tell us you are in place, so our people can look out for you.
VINCENT
How will I contact you?
CONTACT MAN
It’s all in the instructions. Read them on the plane. Whenever you need to get information to us, you’ll contact your stockbroker. This is normal capitalistic behavior for an American who is tracking his stock.
VINCENT
Anything else?
CONTACT MAN
Yeah. Don’t worry.
int - bucharest airport day
A DELEGATION including Mircea Limpede greets Vincent.
MIRCEA
Welcome, Mr. Vestegean. I knew you’d come. How was your flight?
VINCENT
(uncomfortable)
Okay, but I’d like to wash up a bit.
MIRCEA
Plenty of time for that. We’ll meet with the Minister of the Interior, and then a driver will take you to your hotel--it will only be a moment.
Int - goverment office
Mihai Cicala, Mircea Limpede and Vincent are seated. An AIDE pours drinks.
CICALA
So, welcome to Romania, Mr. Vestegean. I hope you will find your stay here very rewarding.
VINCENT
Me too.
CICALA
Mircea tells me that you will be consulting for us?
VINCENT
That’s the deal--yeah, I’ll be consulting.
MIRCEA
(To Cicala)
Vincent is very tired, I promised him he could go directly to his hotel and freshen up.
CICALA
Yes yes, of course. Just one moment--
Cicala motions to the aide, who leaves the room and returns with IRINA, a young attractive woman in her late twenties. She is dark, small framed.
CICALA (cont’d)
Irina Prahova--Mr. Vestegean.
IRINA
Welcome, Mr. Vestegean.
Vincent is delighted.
VINCENT
How are you?
She smiles, and they all chuckle at his remark.
IRINA
I am very well, Mr. Vestegean.
VINCENT
Call me Vince. So, are you my guide?
They all laugh again.
CICALA
Your assistant. Tovarasa Irina is a highly qualified engineer. She will work closely with you and help you any way she can. You approve, I hope.
VINCENT
(beaming)
Oh, I do, I approve.
Mircea opens the door.
MIRCEA
Shall we go then? You can have a shower and relax. Irina will pick you up in the morning and take you to your new office.
Vincent, Mircea, and the aide leave.
Cicala confides to Irina.
CICALA
He likes you, this is good. It means he will trust you sooner. But accommodate him with discretion. I don’t trust
CICALA (CONT’D)
him for two reasons: one, he is American, and two--
IRINA
--he is Romanian?
ext - city cafe six months later
IRINIA and VINCENT are having lunch at an outdoor cafe. Both are more relaxed, and seem comfortable with each other.
VINCENT
I can’t believe that 6 months have passed already. I must have seen all of Bucharest by now.
She smiles, Vincent motions to the waiter.
IRINA
Have you ever been to a Romanian wedding?
VINCENT
When I was a kid, sure. I used to go to church, too, but I remember the funerals most of all. I used to like the bread and wine--but when I had to make the parastas for my folks, well, I couldn’t swallow a thing.
She is moved, touches his arm, consolingly.
IRINA
Perhaps you should light a candle--
you know, light a candle in memory of them. I mean, especially since you’re here now.
VINCENT
You mean go to church? Oh, I don’t know. I get lost during the service--when to stand, when to sit, when to kneel.
IRINA
It’s all right, we’ll go together and just watch the
IRINA (CONT’D)
baba in front of us. We’ll do as she does.
VINCENT
That reminds me of a joke--
IRINA
The one with the little gypsy boy?
VINCENT
...and the finger?
IRINA
Yes!
They both laugh.
int - church day
VINCENT and IRINA are attending a wedding. Full Orthodox display of ritual ceremony; bride and groom are wearing gold crowns, their hands are tied together with a white silk cloth, very ornate.
VINCENT
Tying them up seems a little extreme, don’t you think?
IRINA
(Smiling and bending her head down)
That symbolizes unity as man and wife.
VINCENT
Here we go with the wine again, no wonder they seem so happy.
Irina laughs softly.
IRINA
That symbolizes the wedding in Cana--
VINCENT
I didn’t think you were such a follower.
She seems slightly offended.
IRINA
It’s true, they, that is--
VINCENT
--the Party?
IRINA
(nervous)
Shh!
VINCENT
Sorry. oh, look--here’s where they dance around the table.
IRINA
(smiling in spite of herself)
They’re not dancing. Not yet.
int - wedding hall night
Huge CROWD, wild Romanian music, people dancing, eating, toasting. Traditional vignettes of colorful customs. Vincent and Irina are doing shots of tuica, traditional plumb whiskey. They are enjoying the atmosphere. He is a little drunk, and imitates the chanting and toasting heard above the noise.
VINCENT
Traiasca!!
IRINA
You’ve had too much to drink--this is the first time I’ve heard you speak Romanian since I met you.
He looks at her intently, smiling, leaning in closer, and slipping his arm around her shoulders.
VINCENT
I would like to ask you to dance, but I don’t know how to dance this crazy stuff.
Vincent and Irina are spinning madly, laughing as they dance. Vincent is overcome, and they make their way to the table.
IRINA
I think we need to take you home.
Int - corridor irina’s apartment
Vincent is propped against the doorjamb. Irina unlocks the door.
IRINA
I’m going to make you some coffee.
VINCENT
That stuff that tastes like mud?
Irina opens the door.
int - irina’s apartment
It is small but cozy. Irina lights an oil lamp. He watches curiously.
VINCENT
Haven’t you got electricity here?
IRINA
They shut it off at 9:00 o’clock.
VINCENT
That’s odd--they don’t shut mine off.
Irina prepares the coffee. She lights a small stove with kindling, and sets the pot on the burner.
She pours the hot water into the cups. They are seated at a small table in the kitchen, and drink.
VINCENT (cont’d)
This is easier to drink in the dark, that’s for sure.
They sip their coffee in awkward silence. Vincent reaches his hand across the table and lightly touches hand. She waits a moment, then pulls her hand away and continues sipping.
IRINA
(modest)
If you can manage to finish your coffee, I’ll read your cup for you.
Vincent sips his coffee briskly, and wipes his lips. He extends the cup to Irina.
She overturns the cup on the saucer, and does the same with hers.
VINCENT
You know how to do that?
IRINA
I know how to do many things. Let me have a look.
She carefully turns the cup right-side up and studies the inside. We don’t see what she sees yet.
VINCENT
Well?
IRINA
I see...a woman--she looks at you with longing. And a man, an enemy who watches from a distance.
VINCENT
That could be anyone, anytime, anywhere!
IRINA
...and an old man, with a cane, yes; he has a mustache.
Vincent is intrigued.
VINCENT
My father used a cane after his leg operation. He had a mustache...wow, this is weird.
IRINA
I see a child--wait, no two, back to back; this is odd; they face in opposite directions. (We see a close up of this image, etched in coffee grounds). Oh, and you will take a journey.
VINCENT
Of course I will. Now, let’s see your cup.
Irina hesitates.
IRINA
Mine is not interesting. Actually, I turn it over only out of habit. You see, those
IRINA (CONT’D)
who read cannot read their own fortunes.
He tries to take the cup, but it slips and crashes to the floor, shattering into pieces.
VINCENT
Oh my God, Irina, I’m sorry--it’s my fault.
IRINA
Not to worry, it’s just a cup.
They both reach for the pieces and nearly collide. Their faces are close; they sense each other in the darkness. He kisses her gently; she rubs her lips against his. Extreme close up of the shattered pieces, one bearing the same image as the other cup of the two children back to back.
irina’s bedroom
Vincent and Irina make love.
int - examination room – Three months later.
Bela Udvari has just finished examining Irina.
BELA UDVARI
You’re pregnant. There is no doubt.
IRINA
(worried)
Perhaps there is a way--
BELA UDVARI
Come, my dear, you must be registered like the rest. You know the consequences of an abortion? As much for you as for me. Does he know—the father--have you told him?
Mihai Cicala KNOCKS and enters.
CICALA
Is it true?
Irina glances at Bela.
BELA UDVARI
Yes.
CICALA
Leave us, Dr. Udvari.
Irina appears embarrassed.
CICALA (cont’d)
If the father had been anyone else, I would have allowed you to have an abortion. You’ve been a loyal member of the Party--but now your duty has increased ten-fold. With his child in your belly, it is guaranteed that he will cooperate. As his wife, you will have complete control; he will not betray us.
IRINA
But what if he doesn’t want to marry me?
CICALA
You will make him understand it is his responsibility.
IRINA
But he is American, and Americans have no sense of honor, of shame...
CICALA
Believe me, Irina, he will not desert you. He will understand what becomes of women in your position. Besides, I think he is rather fond of you, yes?
int - irina’s apartment
The refrigerator is well stocked. There are flowers on the table, a basket with cheese and salami alongside. Suddenly KNOCKING at the door.
Vincent smiles as Irina opens the door.
VINCENT
I called your apartment all afternoon--I was worried. Is everything okay?
He tries to kiss her, but she hesitates.
VINCENT (CONT’D)
What’s wrong?
IRINA
Nothing. It’s nothing. Come and let me fix you something to eat.
Vincent looks about, notices the food. He is intrigued.
VINCENT
What’s all this? What’s that--Nescafe? did--did you get a promotion or something?
She is nervous.
IRINA
Mihai--Mihai Cicala sent this.
VINCENT
Is that right? How generous for a guy who shuts off your electricity at 9:00.
IRINA
(offended)
If you are trying to insult me, you’ve succeeded.
VINCENT
Insult--? Look, I’m just a stupid American, but I thought--
IRINA
(angry)
What? That you could get me into bed and right away I’m yours?
VINCENT
Forget it.
He turns to leave, then stops and faces her.
VINCENT (cont’d)
You know, since we’ve been seeing each other--
IRINA
Seeing each other?
VINCENT
(determined)
Yeah, that’s right. Since we’ve been seeing each other we haven’t been able to scare up a pork chop between us. Rations here, rations there, and now there’s more goddamned food than I’ve seen in one place since I’ve been here.
IRINA
You don’t understand. He did it out of kindness, out of concern for me, for my condition...
Vincent is confused, but attentive.
VINCENT
What is it? What’s wrong?
IRINA
I had to go to the doctor today. It is required of all women to report once a month...I did not believe it when he told me.
VINCENT
For Christ’s sake what’s the matter?
IRINA
I’m pregnant, Vincent. I’m carrying your child.
VINCENT
(surprised)
Are you--sure?
IRINA
(hurt)
Am I sure I’m pregnant, or am I sure it’s your child?
Vincent sits down at the table, edgy.
IRINA (cont’d)
There’s been no one but you. I didn’t know what else to do, where else to turn.
He rises and moves toward her, but she leans away.
VINCENT
I guess I don’t blame you, but you should have come to me, not gone to Mihai. Oh, wait a minute--so he knows. Great! Well, it doesn’t matter. I’ll take care of it, whatever it costs.
Irina slams her fist on the table.
IRINA
You’ll take care of it? Do you realize where you are? Abortions are illegal in Romania, under severe penalty. My pregnancy has already been registered. This baby will come, Vincent, and there is nothing you can do. I’m not some American tramp--
VINCENT
(angry)
Is that what you think?
She rushes out of the room, sick to her stomach. Vincent pours a glass of tuica, collects himself, and then goes after her.
Irina is leaning over the sink in the bathroom, throwing up. Vincent touches