SISTER OF MERCY

Screenplay by
Pawel Pawlikowski and Rebecca Lenkiewicz

March 2012

Portobello Pictures © Phoenix Film Investments

12 Addison Avenue Krystalgade 7, 1
London W11 4QR, U.K. DK‐1172 Copenhagen K
T: +44 (0) 20 7605 1396 Denmark
W: www.portobellopictures.com
SISTER OF MERCY

EXT. A FIELD. DAY.

It is Summer. Three girls, Anna, 18, beautiful, intelligent looking, intense, Bronia,
17, fragile, and Marysia, 20, matriarchal, build a scarecrow in a field together.
They wear long skirts and head scarves. The scarecrow is on a wooden cross, the
body and head are already fixed. It has a papier mache white face. Anna climbs
up the structure, she has a burnt stick in her hand. Anna draws eyes onto the
face, a nose, a mouth, her mouth is close to his. Bronia looks up at Anna and
holds aloft a bucket of water. Anna takes some water in her hand and wets his
forehead. Anna kisses his forehead then climbs down. Bronia hangs pieces of
mirror and ribbons on to the frame, which reflect the sunshine, she puts her
hand in the prisms of light. The light changes and the sky darkens. The girls look
at it and at their mock man and feel nervous. They start to walk away from him.
A bell sounds. They run.

INT. THE CHAPEL. EVENING.

Anna, Bronia and Marysia chant along with the community of nuns. It’s a half
song, half chant, mesmeric sound. Bronia, Marysia and all the other nuns look
down, eyes closed as they chant. But Anna looks up. Mother Superior, 60, stands
at the altar. She sees Anna looking and meets her gaze. Anna looks down.

EXT. A VEGETABLE GARDEN IN A CONVENT. MORNING.

Anna digs. She puts her spade down. Her hands are covered in blisters and
bleeding. She almost smiles at this, working hands, for God.

INT. MOTHER SUPERIOR’S CELL. DAY.

Mother Superior sits opposite Anna. Mother Superior has a file in front of her
with various papers and certificates. Anna is fired up, trying not to get angry.

MOTHER SUPERIOR:
Her name is Wanda Gruz. She’s your Aunt.
Your mother’s sister.

ANNA:
Does she know that I’m here? That I’ve always been here?

MOTHER SUPERIOR:
Yes. We asked her to come and take you from us.
But she didn’t.

ANNA:
You spoke to her?

MOTHER SUPERIOR:
No. We wrote to her. Several times.

ANNA:
Perhaps the letters never got to her?

MOTHER SUPERIOR:
Your Aunt replied in the end, to say she couldn’t
come. You need to meet her.

ANNA:
I don’t want to, Mother Superior.

MOTHER SUPERIOR:
Before you take your vows. She’s the only family you have.

Mother Superior stops looking at the various papers.

MOTHER SUPERIOR:
There is something else.

Anna looks to Mother Superior who now cannot continue. But she looks at Anna.

MOTHER SUPERIOR: (CONT’D)

Wanda Gruz is a Jew.

ANNA:
What?

MOTHER SUPERIOR:
Your aunt was born a Jew. So was your mother.
And your father. And you.

Anna looks to Mother Superior, unable to take this in.

ANNA:
I can’t be.

MOTHER SUPERIOR:
You were brought to us. And we have loved you.
But you are a Jew. Anna?

Anna stands up, needs to leave.

MOTHER SUPERIOR:
Sit down.

Anna sits.

MOTHER SUPERIOR:
Your real name is Ida Lebenstein.

Anna looks away, shocked, hurt.

MOTHER SUPERIOR:
You must pray Anna. In prayer you will find comfort.
You’ll go to Lublin tomorrow. And stay with your Aunt.
God be with you.

Anna gets up and leaves.

INT. A CORRIDOR. THE CONVENT. DAY.

Anna walks down the corridor. She passes a very realistic statue of Jesus,
handsome, life size. She stops and stares at him, his wounds, his eyes seem to
meet hers.

EXT. A FIELD. DAY.

Anna drives a tractor. She looks round to where Bronia and Marysia are, they
push a trailer through the earth that the tractor pulls but it keeps getting caught
so their man power keeps it going. Anna shouts at them.

ANNA:
Push! Push why can’t you?

MARYSIA:
We are! We’re pushing!

ANNA:
So push harder!

MARYSIA:
You push! Come on!

ANNA:
I am driving!

Anna stares at them, everything seems wrong.

EXT. A FIELD. DAY.

Anna, Bronia and Marysia stand by a trough of water to wash mud from
themselves from the day’s work. Anna looks at her hands which have a lot of cuts
and healing wounds on them. Bronia sees this and takes Anna’s hand in hers, she
sees Anna’s troubled.

BRONIA:
It’s like stigmata.
ANNA:
It’s just cuts. And dirt.

Anna pulls away from Bronia. Anna washes her hands and walks away from the
two girls, separate. They watch her walk away, concerned.

EXT. A FIELD. EVENING.

Anna walks through a field. She looks like a child of nature. She truly studies the
flowers and grasses around her as she quotes Ecclesiastes Chapter 3. She does
not want a different identity to the one she has lived all her life. The prayer is
more an incantation.

ANNA:
To every thing there is a season, and a time to every
purpose under heaven: A time to be born, and a time to die;
a time to plant, and a time to pluck up that which is planted;
A time to kill, and a time to heal.

INT. THE DORMITORY. NIGHT.

Bronia sleeps as does Marysia. Anna between them cannot sleep. She whispers
her name to herself.

ANNA:
Ida.... Ida Lebenstein.

Anna cannot quite take it all in. There is the sound of two nuns walking a
distance off whispering. Which feels cruel, as though directed at her. And now it
is quiet. Anna listens to the pained sound of foxes mating.

INT. THE CONVENT DORMITORY. MORNING.

Bronia and Marysia make their beds. Anna is dressed and takes out her small
suitcase from under hers. She kisses Bronia goodbye.

BRONIA:
God be with you Anna.

ANNA:
And with you. Goodbye Marysia.

MARYSIA:
Socks.

Marysia gives Anna her best thick socks. Anna smiles and puts them in her bag.

ANNA:
Thank you.

All three girls sit down in silence together to prepare for her departure. Bronia
takes Anna’s hand. Marysia takes Bronia’s other hand.

EXT. A COUNTRY ROAD. MORNING.

Anna walks along with her small case. Cows moo.

EXT. A COUNTRY ROAD. MORNING.

Anna sits on the back of a milk cart. Her legs dangle over the edge. She chews on
a piece of grass, stares at the landscape. She looks at the name and address of her
Aunt on a piece of paper.

EXT. A COUNTRY ROAD. DAY.

Anna walks. A car passes by and stops. She runs up to it and gets in.

EXT. A TRAIN STATION. DAY.

A small provincial railway station, just two tracks. Anna waits on the platform. A
train approaches.

EXT. A CITY. DAY.

Anna looks around her. There is traffic and people and the noise is all foreign to
her. Women in tight dresses. Pointed bras, students smoking. Anna stands and
stares. Everywhere there seem to be groups of people talking or laughing. She
watches everyone, fascinated. A couple at the bus stop have a goodbye kiss,
passionate, as though it were their last, next to a large suitcase. Anna
instinctively watches them then stops herself and walks away from the lovers.
She walks a few yards and sees a policeman. She shows him Wanda’s address.
We cannot hear them. It is all traffic. He points for her then indicates directions
and draws upon her piece of paper, a small map.

EXT. A STREET. A CITY. DAY.

Anna negotiates a busy road. The traffic lights slightly confuse her.

EXT. A STREET. A CITY. DAY.

Anna walks past cafes. At one a young man stares at her. She ignores him but she
hears some music coming from the cafe and she stops and listens. Then walks on.
EXT. WANDA’S FLAT. A LANDING. DAY.
Anna knocks at the door. Loud and rhythmic. No answer. She tries a doorbell.
Nothing. She opens the letterbox and looks in. She can hear loud music, classical.
Anna knocks again, louder. The music goes off. Anna knocks.

WANDA: (O.S.)
Who is it?

ANNA:
Can you open the door?

Wanda Gruz opens the door. She is late forties, dishevelled in a dressing gown, a
cigarette in hand, severely hungover.

WANDA:
What do you want?

ANNA:
Are you Wanda Gruz?

Wanda stares at Anna, takes her face in now, it is like looking at her dead sister.

ANNA:
You’re my Aunt.

Wanda is shocked, opens the door for Anna to walk in.

INT. WANDA’S FLAT. A TINY KITCHEN. DAY.

Wanda prepares coffee, she smokes. The kitchen is a mess. A cognac bottle is on
the table and ashtrays.

WANDA:
So.. you are Ida?

ANNA:
Anna... Ida.

They both find it hard to progress from this.

WANDA:
I have to go to work.. Why are you here?

ANNA:
I’m taking my vows soon. I have to meet you before
I give up all family ties.

Wanda stirs her coffee.

WANDA:
I knew they’d brought you up. It’s not compulsory
to join the clan is it?

ANNA:
No.. It’s not.

Anna stares at Wanda.

WANDA:
What?

ANNA:
Nothing.

WANDA:
You look like Roza. And sound like her...
So.. Do you want to become a nun? Really?

ANNA:
Yes. I do.

WANDA:
What did they tell you about me?

ANNA:
They told me that you’re Jewish.

WANDA:
Nothing else? What I used to do?

ANNA:
No.

Pause.

WANDA:
So. A Jewish nun.

ANNA:
I’m a Catholic. Why didn’t you come for me at
the orphanage?

Wanda puts on her coat.

WANDA:
We’ve had our reunion. I’ll walk you to the train station.
ANNA:
Do you have any pictures of my parents?

WANDA:
I’m meant to be in court. Come.

Wanda exits the kitchen, Anna follows her.

INT. WANDA’S FLAT. A FRONT ROOM. DAY.

A small pile of photos. Anna picks one up. It's her as a little baby in her mother's
arms. Another photo shows her father posing for the camera. And another a
Young Wanda in a uniform, proud, a gun strapped to her belt. Anna tries to
choose one quickly. Wanda looks in with her coat and bag on.

ANNA:
Who is this boy? Did I have a brother?

WANDA:
No. Take what you want and let’s go. I’m late.

EXT. A STREET. A CITY. DAY.

Wanda and Anna walk.

ANNA:
Where did they live?

WANDA:
Piaski. It’s a shithole. Near Lomza.
What time is your train?

ANNA:
It’s in the evening.

WANDA:
Do you have money?

Wanda takes money out.

ANNA:
I’m fine, thank you.

Anna looks at Wanda and her money, Wanda feels small and puts the money
away.

ANNA:
God be with you.
She leaves.

EXT. A STREET. A CITY. DAY.

Anna walks along the street with her suitcase. She hears a Marino Marini song,
“Nie Placz Kiedy Odjade”. Anna walks with the music and sees it comes from a
record shop. She stops and looks in the window. LPs are displayed. She looks in.
It is Aladdin’s Cave. Anna walks in.

INT. RECORD SHOP. A CITY. DAY.

Anna stands amongst the youths in her postulant’s veil listening to the song. It
stops. Anna looks around at the people in the shop. A Teddy boy (bikiniarz)
smiles at her. Anna smiles back and leaves the shop.

INT. A COURTROOM. DAY.

Wanda is in the judge’s chair. Wanda presides over a case, which is petty and
eternal. The Prosecution Lawyer is small and bullish. The Defendant is thin and
puzzled, an alcoholic, out of place, nervous.

PROSECUTION LAWYER:
You massacred them for no reason then?

The Defendant looks puzzled. Looks to Wanda the Judge.

PROSECUTION LAWYER:
These red tulips Your Honour. They were planted by
the third detachment of the Scouts Brigade.
(TO DEFENDANT)
And you mowed them down with your grandfather’s sabre?

The Prosecution Lawyer holds up the sabre towards Wanda, it is shabby and
worn. Wanda’s mind is elsewhere.

EXT. A TRAIN STATION. EVENING.

Wanda enters the railway station. She looks around and sees. Anna sat there, in
the waiting room, reading.

WANDA:
Ida! Ida!

Anna looks over.

WANDA:
Do you want to stay tonight?

Anna nods, smiles.

EXT. A STREET. EVENING.

Wanda strides along, Anna slightly behind.

INT. WANDA’S FLAT. A BEDROOM. NIGHT.

Anna sits on the window ledge, leans out and watches the cars and streets of
people below. Wanda walks in, a large cognac in her hand. Wanda looks at Anna,
neon lights reflecting on her.

ANNA:
I’ve not been to a city before.

Wanda crosses to Anna and looks out of the window too.

WANDA:
There’s not so much to rave about.

ANNA:
I’m going to Piaski tomorrow.
I want to visit my parents’ graves.

WANDA:
Nobody knows where they were buried. Or any of the
other Jews. They could be in the forest. The lake.

ANNA:
I’ll ask people.

Wanda nods.

WANDA:
What would you do if you went there? And you
found that God doesn’t exist?

ANNA:
But He does. Everywhere.

WANDA:
But if you questioned his Being..
even for a day.. Would that stop you entering
the Order?

ANNA:
Nothing could make me think that.
WANDA:
Really? I’ll go with you. I’ll show you around.
Good.

Wanda downs her drink and stares out the window.

INT. A CAR. DAY.

Wanda drives her 1959 model Warszawa, Anna tries to follow an old map. Anna
shakes her head.

WANDA:
There should be a road to the left soon. Yes?

ANNA:
I can’t see it. To the left?

WANDA:
Found it?

ANNA:
No.

Wanda half looks over and points at a spot on the map.

WANDA:
Look. There. And we’re here. They teach you
about hell and damnation but not how to read
a map. Give it to me.

Wanda takes the map and keeps driving.

WANDA:
Light me a cigarette.

Anna lights a cigarette for Wanda, coughs.

EXT. A COUNTRY ROAD. DAY.

Wanda’s car is parked by the roadside. Wanda sits on a wooden stile, smokes and
watches Anna who prays at a small roadside chapel. It’s the Angelus prayer at
noon.

INT. CAR. DAY.

Wanda drives. Anna looks at the landscape.

WANDA:
What did you ask for?

ANNA:
I didn’t .. What was my mother like? Did you
get on well?

WANDA:
We were very different.. Roza was an aesthete.
She liked making things. Like stained glass windows.
She once made a stained glass window and put it in the shed.
To jolly it up for the cows. She was naive.....
What do you girls talk about? At the convent?

ANNA:
All sorts..Why do you hate religion?

WANDA:
I find it fraudulent. Rotten. Indulgent. Manipulative.

ANNA:
And communism ..?

WANDA:
Communism is rational. Scientific. Progressive.
Admittedly the Poles aren’t born to it. “ Giving Socialism
to the Poles is as absurd as putting a saddle on a cow.”

Anna smiles.

ANNA:
That’s good.

WANDA:
Stalin said that.

EXT. PIASKI. DAY.

The central square, covered in cobbles and puddles. Two tykes stare curiously as
Wanda’s Warszawa crosses the square.

EXT. A FARMHOUSE. DAY.

The Warszawa pulls up outside a farmhouse. It’s the house from Wanda’s
photographs. A neighbour’s dog starts barking. Anna knocks on the door. Nobody
answers. As they walk around the house. Anna looks at it with curiosity and awe.
The crooked wooden walls, the windows with paint peeling on frames, the
decrepit guttering covered by wild ivy. As they come around the back, they see
white freshly washed sheets hanging from two lines. An invisible woman is
hanging out more washing.
ANNA:
Hello?

The head of a young woman, Kasia, 28, frustrated, looks around.

KASIA:
Praise be to Jesus Christ.

ANNA:
For ever and ever.

Kasia’s eight month old child burbles in a pram.

WANDA:
Do you know who lived in this house?
During the War?

KASIA:
No. Why? Has something happened?

ANNA:
We’re just looking for people who knew them.

KASIA:
My husband did. But he’s at the factory.

Kasia’s two boys, 8 and 5, come around to look at the strangers.

ANNA:
Could we have a look inside please?

KASIA:
What? Could you come back when my husband’s home?
After six. Could you?

WANDA:
What do you think we are? Thieves?

ANNA:
We’ll come back later.

WANDA:
Make sure your husband is here.

They turn to leave. Kasia picks up the baby.

KASIA:
Could you bless my daughter please Sister?
Wanda looks on with scepticism as Anna makes the sign of a cross and whispers
a prayer over the baby girl.

EXT. CENTRAL SQUARE. PIASKI. DAY.

The Warszawa pulls up. At one end of the square is a bar “Centralny” At the other
end a church. Wanda and Anna walk past a church. Wanda strides ahead of Anna
who stops.

ANNA:
I’ll catch up with you. Where will you be?

Wanda nods towards the bar.

EXT/INT. BAR CENTRALNY. PIASKI. DAY.

Wanda walks into the bar. Heads turn from tankards and the noise level drops at
the sight of a strange woman. A Drunk gazes out of the window. Wanda walks to
the counter. The Barman, 55, turns to Wanda.

BARMAN:
What can I get you?

WANDA:
A cognac?

The Barman nods towards the shelf, apologetic.

BARMAN:
Sorry.

WANDA:
A vodka then. 50 grammes.

He moves to get a glass.

WANDA: (CONT’D)
Make it a 100.

INT. A CHURCH. DAY.

Candles illuminate an image of the bleeding heart. A painting of the Virgin Mary
giving her breast to a fat little Jesus. Anna sits in the confessional box and
confesses to an invisible priest, Father Andrzej.

INT. BAR CENTRALNY. DAY.

Wanda sits by the window at a chipped formica table. “Pamietasz Byla Jesien” by
Slawa Przybylska plays on the radio. Wanda raises her empty vodka glass to the
barman for another shot. A cart goes by with a horse. A mangy dog rubs against a
lamp post. The two same tykes approach the Warszawa . A private car is a rare
thing in Piaski. The Barman brings Wanda another glass.

WANDA:
Did you know the Lebensteins? They lived here
before the war.

The Barman's countenance shifts very slightly.

BARMAN:
Lebenstein.. Were they Jews?

WANDA:
No. They were Kikuyus.. Roza and Moishe Lebenstein.
Yes they were Jews.

BARMAN:
There were hundreds of them here.
But I didn't know those two. I'm sorry.

WANDA:
Why apologise?

The Barman meets Wanda's look. Everyone is half watching them. One man
shakes his head. Another two do not react.

BARMAN:
It's a long time ago.

WANDA:
Not really. If you were eighteen yes. But for you
or me it's like yesterday. You remember what happened
yesterday, don't you?

The Drunk laughs at Wanda's interrogation. She knocks back the vodka. She
looks out of the window. The tykes make a long scratch on the side of the car
with a sharp stone.

WANDA:
Little fuckers!

She rushes out of the bar. A massive scratch runs along the side of the car. Wanda
stares at it in horror. There are not many things she cares about any more, but
she's proud of her car.
INT. THE VESTRY. DAY.
Anna sits at a table with Father Andrzej. She strokes a white church cat.

FATHER ANDRZEJ:
Lebenstein? No I didn’t come across them.
The Jews kept themselves very much to themselves.

ANNA:
Were you the priest here? During the war?

FATHER ANDRZEJ:
I was. All we could do for the Jews was pray for their souls.
Why are you looking for them? Do you have a connection?

Anna cannot quite be straight with him.

ANNA:
No. My convent sent me. Thank you Father.

She gets up to leave.

EXT. PIASKI. CENTRAL SQUARE. DAY

Anna joins Wanda who is waiting for her at the car, drunk and unnerved.

WANDA:
Look at this..

Anna stares at the scratch, couldn’t care less about it, she is ashamed of her
denial but tries not to show it.

Wanda throws away the cigarette and gets into the car. Anna follows suit.

EXT. A FARMHOUSE. EVENING.

Anna knocks on the door. Wanda stands behind her, she’s a bit drunk. Feliks, 40,
appears, nervous, angry.

FELIKS:
Who sent you here?.. What do you want?

ANNA:
My family lived in this house. Did you know them?

FELIKS:
No. Check the Land Registry. And the Civic Offices.
There were no Jews here. It’s always belonged to us.
ANNA:
I didn’t say they were Jewish.

FELIKS:
It’s our house. And our land. We’ve always been here.

WANDA:
The authorities sent us.

Wanda walks up to Feliks and despite her drinking she is authoritative. Feliks
reluctantly lets her in. Anna follows them into the house.

INT. A FARMHOUSE. EVENING.

Anna stands. Wanda moves around the room looking at various objects. Kasia
sits with the baby on her lap.

WANDA:
You know that the Lebensteins lived here..
Why were you denying that?

Feliks cannot reply.

WANDA:
Come Ida, I’ll show you round.

Wanda and Anna leave the room.

INT. KITCHEN. A FARMHOUSE. EVENING.

They look around the kitchen. Feliks appears at the door.

FELIKS:
I’ve lived in this house since the war. We can’t
move out. Not with the baby.

WANDA:
Your father hid my family. Didn’t he?

Feliks looks away and then nods.

WANDA:
Where?

Feliks shrugs.

WANDA:
That’s not enough. I said “Where?” It’s in your
interest to answer me. In the forest somewhere?
In a hut?

FELIKS:
Maybe.

WANDA:
Don’t say maybe to me. I know what you do at the factory.
I know the name of your foreman. And I know who did
what in the war. Who helped the Jews. And who denounced them.

FELIKS:
My father never went to the Germans.

WANDA:
Your father sheltered the Lebensteins. And then he killed
Them, didn’t he?

FELIKS:
Who told you that? Nobody in this town.

WANDA:
It’s my business to know these things. The authorities are
aware of what happened here. They’ve never seen fit to do
anything about it.

FELIKS:
Why are you bringing it up now when it’s all past?

WANDA:
Your family’s alive. Ours is not. Tell me what happened.

FELIKS:
There were a few Jewish families who escaped the
round up. But the Germans found out. And they were
killing anyone who helped the Jews.

WANDA:
Your father is Szymon Bartosik. Did he kill them? Yes or no?

Feliks just looks at her. Kasia joins him at the door.

WANDA:
You know the answer and you’re going to tell me.
You have two sons and a baby.

KASIA:
Feliks. Please.
WANDA:
You’re upsetting your wife.

FELIKS:
No. You’re upsetting her.

Anna doesn't like what she's witnessing and leaves the room to look around the
house of her birth. Anna steps into the children's room. Feliks' two boys are in
there, staring back at her, scared. She smiles to reassure them and leaves.

WANDA:
I know when people are lying or not. I also know who to
contact when I don’t want a person to continue their life
in the way they are accustomed to. Do you understand me?
I can change your circumstances at any given moment.
And not in the way you would like them to change.
Are we clear now?

KASIA:
Tell them Feliks. Tell them. Please.

Through the window Anna has noticed three farmers gathered outside the
house, looking at Wanda’s car. They are joined by a fourth. Anna goes back to
Wanda and Feliks.

FELIKS:
They hid in a a hut for seven months. Near the dam.
My father helped them. The Germans put more pressure
on the town. Searches. They would have found them anyway.

WANDA:
Where is your father now? Is he here? In Piaski?

FELIKS:
No.

KASIA:
He’s not. He doesn’t live here. He’s telling the truth.
I swear. On the Bible.

WANDA:
I need an address.

FELIKS:
I don’t know it.

WANDA:
Where is he?
FELIKS:
I can’t.. I don’t know.

WANDA:
Good. The State offers.. adequate care for children.
Not so good for babies.

KASIA:
Feliks.. Tell them. You don’t even like your father.

FELIKS:
Shut up, idiot.

KASIA:
You haven’t talked to him in ten years. When we needed
money he gave you nothing. He didn’t even tell you when
he moved away.

WANDA:
Where did he move to?

KASIA:
Wola.. last year. It’s forty kilometres east of here.

Wanda looks at the couple, walks towards the back door.

WANDA:
Good.

KASIA:
What will you do?

WANDA:
Ida. Come with me.

Anna follows Wanda towards the back.

EXT. THE YARD. EVENING.

Wanda heads towards the cow shed. Anna follows her. Feliks watches them. He’s
joined by the four farmers.

INT. THE COW SHED. EVENING.

Wanda lights a match next to the amateur stained glass. Round bottoms of
bottles, various greens and reds, circles of kaleidoscopic colour. Anna walks in.

WANDA:
That’s Roza.. Coloured glass next to the cowshit.

Anna touches the glass. Wanda stares at it. Wanda looks at a corner where she
and Roza would sit and talk. She stares at Anna, Roza’s double,gathers strength
and walks out.

EXT. FARMHOUSE. EVENING.

As Wanda goes through the gate there is a posse of a dozen Men who have
gathered around the house, with spades and pick‐axes. Feliks follows Wanda and
Anna.

FARMER:
Get out! Piss off out of our town! And don’t come back.

Two Farmers approach Wanda and take her by the arm, pulling her towards her
car. Wanda breaks free from them, angry.

WANDA
Take your hands off me. Idiot!

ANNA:
Let’s go Wanda.

WANDA:
Jews were taken away by the truckful here.
And you just looked the other way didn’t you?
Good Christians that you are.

Anna stares at Wanda. The Farmers just stare at Wanda.

WANDA:
And when they were stripped of their clothes?
Women.. Children.. Before they were shot..You were
happy enough to take their coats. And keep their cows.
Weren’t you?

No one speaks.

WANDA:
And this is your hometown Ida. And this is your God!

The Men slowly edge towards Wanda and the car.

WANDA:
You want me? Come and get me you idiots.
Morons.. Halfwits.. Inbreeds!
Wanda gets in the car. Anna gets in. Wanda can’t get the car into gear, it stalls,
not quite heroic but then it sputters and starts. A farmer runs after them and lobs
a stone at the car.

INT. CAR. EVENING.

The stone hits the rear window.

WANDA:
Shit!

ANNA:
Just drive Wanda. Drive.

ANNA:
The fuckers..

ANNA:
Drive..

Anna looks back at the farmers through the window.

INT. CAR. DAY.

Wanda drives. Anna stares at the countryside.

ANNA:
How could somebody do that? Kill people that they knew?

WANDA:
How did the camps happen? Ask your God. He’s all seeing.
All knowing. Ask him what the hell went on.

INT. A CAR. EVENING.

Wanda drives. She and Anna are both silent. Wanda turns the radio on. Music.
Turns it off. She lights up a cigarette and strains to see the road through mist and
darkness. She stares at the road ahead, thinking her own thoughts, angry.
Suddenly out of the mist looms the back of a massive hay cart. Wanda slams on
the brakes but it’s too late.

WANDA:
Shit.. !

The car skids, swerves and goes into a ditch.

INT. A LOCAL POLICE STATION.

Wanda stands at the counter with a Policeman. Anna stands behind her.

SERGEANT:
When did you start drinking?

WANDA:
I must have been about twelve.

SERGEANT:
I meant today. You know I meant today.
You can make this easy for yourself. Or difficult.

WANDA:
Don't waste your time, sergeant. You have to let me go.
I'm a servant of the People's Republic.

SERGEANT:
(TO A MILITIAMAN)
Put her in the cells.

WANDA:
I have immunity. I’m a judge!

Two militiamen come to take her away.

SERGEANT:
There’s your immunity.

ANNA:
Can I go with her?

WANDA:
(TO ANNA)
No!
(TO SERGEANT)
When will you let me out?

SERGEANT:
That will be pending.

WANDA:
On what? Whether you have sex with your wife tonight?
Or what?

SERGEANT: (TO THE MILITIAMEN)

Hose her down. Put her in an isolation cell.

The militiamen lead Wanda off. Anna and the Sergeant watch her go.
INT. THE VESTRY. NIGHT.
A dishevelled Father Andrzej leads Anna into the room. He lays down linen onto
the floor for her.

FATHER ANDRZEJ:
I’m sorry there’s nothing else.

ANNA:
If a Jew came to you Father? And said they
wanted to join your church. Would you welcome
them?

FATHER ANDRZEJ:
That’s never happened to me.

ANNA:
But if it did?

FATHER ANDRZEJ:
If they really meant it. Of course. But it’s hard to
tell with a Jew.

ANNA:
Why?

FATHER ANDRZEJ:
They’re stubborn. Good night child. Don’t mind the cats.
They’re just inquisitive.

INT. A PRISON CELL. NIGHT.

Wanda lies in a foetal position. Wide awake. There are sounds of a drunk
shouting and banging a tin cup a corridor down. Wanda stares at the wall,
unhappy.

INT. THE VESTRY. MORNING.

Anna lies awake, a cat pads over her gently, purrs. She strokes it.

EXT. OUTSIDE THE POLICE STATION. DAY

The Sergeant gives the keys back to Wanda. He is all respect and clearly scared of
Wanda. The Warszawa has a big dent in its side. Otherwise it's in working order.

SERGEANT:
I hope you’ll accept my apology, your honour,
and understand that I was only doing it for your own
good. Whilst you were… indisposed.

Wanda and Anna get into the car.

EXT/INT. CAR. DAY

Wanda is at the wheel. Anna lights a cigarette for her.

ANNA:
What did you say to him?

WANDA:
This car has survived years and one night in this hole
and it’s trashed.

ANNA:
Why was he so scared?

WANDA:
He found out who I was. I had five minutes of fame
a few years back. Big trials. People knew who I was.
They don’t anymore.

It’s a beautiful day. The road goes through undulating countryside. Farmers
bringing in the harvest. Wanda opens the window.

EXT. STREAM. A FIELD BY THE ROADSIDE. DAY.

Anna drinks from a stream. Wanda sits on the grass. It's hot. The car is parked on
the side of the road. Anna sits down a distance from Wanda. Wanda takes off her
jacket.

WANDA:
Take off some of that.

Anna glances at all her layers, does not remove them.

WANDA:
Jesus wouldn’t mind. He doesn’t want you to die
from sunstroke.

Anna ignores this.

WANDA:
It’s a day for lying down in fields. With a man.
Not chasing murderers. Did you ever want it?

ANNA:
What?

WANDA:
Sex.

ANNA:
No, never.

WANDA:
You should do it before you renounce it.
Else where’s the sacrifice?

Anna laughs, despite herself.

INT. CAR. DAY.

They reach a crossroads. As Wanda slows down she notices a Young Man, trying
to hitch a ride.

WANDA:
Talk of the devil..

Wanda stops, Anna rolls down the passenger window.

WANDA:
Where are you headed?

LIS:
Wola.

WANDA:
Good. Get in.

He picks up a black case.

INT. CAR. DAY.

Wanda drives. Lis looks at them from the back seat. Wanda reaches for her
cigarettes, lights one and offers one to Lis.

WANDA:
Cigarette?

LIS:
Thanks.

Wanda passes him the pack. Anna can’t help but look into the rear mirror where
she sees part of Lis’ face as he lights up.
WANDA:
What’s in the case?

LIS:
A saxophone.

WANDA:
Nice. Do you live in Wola?

LIS:
No. We’re playing a few sets there. For the
500th anniversary of the town. You?

WANDA:
We’re tracking down a killer.

Lis smiles, assumes it’s a joke. He looks in the rear mirror and sees Anna’s dark
eyes staring at him.

EXT. A COUNTRY ROAD. DAY.

The van drives past a sign “Wola”. Posters announce its 500th anniversary.

EXT. A STREET. WOLA. DAY.

The car weaves through the one horse town, it is small and insular.

EXT. A STREET. WOLA. DAY.

Wanda parks next to the Hotel “Wola”. They all get out and take in the small
quiet town around them.

WANDA:
Is this where you’re playing tonight?

LIS:
Yes.

A van is parked outside the hotel. Two men unload a drum kit. A large poster
opposite the hotel entrance celebrates the 500 years of municipal status. Lis
takes his case out of the car.

LIS:
Thanks for the lift.

WANDA:
Anytime.

Lis smiles at Anna and Wanda then goes to join the Men.
INT. HOTEL. A BAR/ DINING ROOM. DAY.
A couple of old barflies sit at the long counter. The room is covered in bunting. A
caretaker pins up a large anniversary poster. An Old Woman puts red flowers
and candles into various positions. Lis and the other band members set up the
instruments on a small stage. Wanda and Anna sit at a table.

WANDA:
Your boyfriend’s got a nice arse.

Anna tries not to look. A Barmaid comes to their table with a tray of tea, rolls,
and scrambled eggs.

WANDA:
Do you know Szymon Bartosik? He lives here.

BARMAID:
He sounds familiar. What does he do?

WANDA:
He’s retired now. He moved here last year.

BARMAID:
Ask Marek. The guy at the bar.
He knows everyone.

She points to MAREK, 60, dishevelled, alcohol‐sodden, nursing a beer and a

cigarette. Wanda and Anna watch him from their table. The Barmaid goes over to
him, indicates Wanda and Anna. He looks over at them.

INT. A BAR/ DINING ROOM. DAY.

The food is gone. Wanda smokes. A Woman Singer, blonde, pretty, late 20's, tests
the microphone.

SINGER:
One two one two.

She looks to Lis who fiddles with the amp in response.

LIS:
Again.

SINGER:
One two one two.

Marek approaches Wanda and Anna at their table.

MAREK:
I heard that you’re looking for Szymon Bartosik?

WANDA:
We are. Sit down.

Marek sits.

MAREK:
Is he is trouble?

WANDA:
No. His son sent us.

MAREK:
He doesn’t speak to his son.

WANDA:
A cousin of theirs has died. She left some things to Szymon.
Where does he live?

MAREK:
Just around the corner.

He stares at Wanda.

MAREK:
I know you don’t I?

WANDA:
No. Could you take us there?

MAREK:
I’m.. otherwise engaged. He lives on Swierczewski Street,
just past the co‐op.

EXT. STREET. DAY.

Anna and Wanda walk past the Co‐op. They follow the numbers of the houses,
13, 15, .. 17. They look at the door. Anna knocks. No response. A Neighbour sticks
his head out.

NEIGHBOUR:
Szymon’s not there. He had to go to Rudnik.
To the hospital.

Wanda and Anna look blank.

NEIGHBOUR:
Gall bladder. Stone.

WANDA:
When is he back?

NEIGHBOUR:
Tomorrow, God willing.

ANNA:
Thank you.

Wanda and Anna walk away.

INT. A HOTEL BEDROOM. DAY.

Anna unpacks her small suitcase. Wanda stands at the window, lights a cigarette.
She looks out on a shabby, empty, tree‐lined street of a provincial town; two cars
parked at the curb; a woman pushing a pram; a couple of somnolent old people
on a bench. Municipal workers paste up a Party slogan; a three‐legged dog
crossing the street. An old clapped out lorry passes by.

WANDA:
How do people live like this? I mean what is there?

ANNA:
Family. Faith. People work.

WANDA:
Until they die.

INT. HOTEL. BEDROOM. EVENING.

Wanda puts on a dress and looks at herself in the mirror. From below the sounds
of Lis's band strike up The Twist. Wanda picks out a mid length dress and shows
it to Anna, who sits on the bed and reads the Bible.

WANDA:
How about this?

Anna shakes her head.

WANDA:
Please. For me. It won’t make you any less of a nun.
I'm just tired of people smiling and nodding at us.

ANNA:
I’m going to stay here. I need to read.
WANDA:
The one thing about Christ Ida.. I’m not a fan but the man
went into the world. He didn’t hide in a cave with Holy
Scriptures.

Anna ignores the remark, seemingly. Wanda sprays some perfume on herself
then sprays a little on Anna. Anna looks up in frustration. Wanda looks in the
mirror, catches a thought of Roza, then comes back to herself.

INT. HOTEL. BAR / DINING ROOM. NIGHT.

The first bars of “Portofino”. The Woman Singer, now with big hair in a tight
fitting sequined dress, is waiting at the mike for the intro to finish. She takes the
mike and starts singing in Polish.

SINGER:
“I found my love in Portofino”

Wanda sits alone, dressed up and looking good. She smokes and sips on her
cognac, watches Lis play. A man comes up to the table and asks her to dance.
Wanda shakes her head. She motions to the waiter for another drink.

INT. HOTEL. BEDROOM. NIGHT

Anna lies on her bed, stares at the ceiling, goes over the events of the day in her
head. Some fast, rocky number rumbles through from down below.

INT. HOTEL. BALLROOM. NIGHT

Wanda is still at her table, on another vodka and cigarette. The dance floor is full.
Lis' band are playing a Polish cover version of “Marina” by Marino Marini. Lis
leans to the mike, to join the singer for the chorus.

SINGER/LIS:
“Marina, Marina, Marina…
nie jeden by kochac cie chcial”

Lis looks up and smiles. Wanda follows his look and sees Anna, who's entered
the room. She's looking shy and out of place, but radiant and beautiful. She wears
a mid length dress of Wanda's which looks very lovely on her just because she is
very lovely. Her hair is free. And she looks like a girl not a nun. Although her
shoes are not too glamorous.

INT. THE HOTEL BAR/ DINING ROOM. NIGHT.

Wanda and Anna sit and drink, Wanda has vodka, Anna lemonade. She watches
the dancers carefully. She's never been to a dance before. She likes the idea. The
band play a slower song.
SINGER: (IN DODGY ITALIAN)
“Guarda che luna.. guarda che mare”

WANDA:
No good having a slow song when it’s your boyfriend
who’s playing it.

Wanda smiles at her own joke. Anna ignores it and watches the dancers. A man
invites Anna to dance. She shakes her head. The man invites Wanda. She accepts.
Anna sneaks a look at Lis. Their eyes lock. Neither looks away.

INT. THE HOTEL BAR. NIGHT.

Lis and Anna sit next to each other. Wanda dances with another man to a record.
The band are having a break.

LIS:
You and your Aunt are close aren’t you?

ANNA:
We only just met.

LIS:
I thought you’d known each other forever.

ANNA:
We’re not alike. We fight most of the time.

LIS:
Really? She’s very glad you’re here.
You can see that.

ANNA:
Why do you say that?

LIS:
It’s obvious.

Anna looks over at Wanda who pulls a gently ambiguous face.

LIS:
Do you want to come outside?

ANNA:
No.

LIS:
Why not?
ANNA:
I can’t.

LIS:
Give me three good reasons why you can’t.

Anna shakes her head, Lis smiles.

EXT. OUTSIDE THE HOTEL. DUSK.

Lis offers Anna a cigarette. She shakes her head. He lights one for himself.

LIS:
So what did you think of the music?

ANNA:
I liked it.

LIS:
No?..In places like this we just play what people want,
schmaltzy numbers off the radio. It makes them think
they’re in some big club.

ANNA:
I liked it.

LIS:
Maybe you haven’t heard very much?

ANNA:
We sing a lot.

LIS:
Do you?

ANNA:
At the convent? Yes we do.

Anna coughs at Lis’ cigarette smoke. He moves it away from her.

LIS:
Sorry. ... Where were you born?

ANNA:
Piaski. It’s near Lomza.

LIS:
And you grew up there?
ANNA:
No. My parents were killed in the war. And I was
brought up by the nuns.. but really I’m.. I’m.. Jewish.

Lis smokes.. Takes this in, Anna feels heightened, it’s the first time she’s said it.

LIS:
Are you going back to the convent?

ANNA:
Yes I will.

LIS:
For how long?

ANNA:
I’ll take my vows. And then I’ll be a Sister.
And then I’ll.. Stay there.

Lis nods. He is a rather lost soul.

LIS:
Does it ever scare you? How much you believe?

Anna looks at him, thinks.

LIS:
That it might crash? What would you have then?
Do you think about that?

ANNA:
Every day.

LIS:
Do you have an image of him? Of God?

ANNA:
Yes.

She points up to the sky. The night sky. They both look up at it. The drum roll
from inside the hotel announces the next set.

LIS:
I’ve got to go.

INT. HOTEL. BAR/ DINING ROOM. NIGHT.

Anna and Wanda sit at their table. Wanda is pretty drunk. Lis and his band play
another number.
WANDA:
And?

ANNA:
What?

WANDA:
So tell me what happened.

ANNA:
Nothing. Nothing happened. Nothing’s going to happen.

WANDA:
At your convent.. But here..I have to save you.
It’s inevitable...

Another Man invites Wanda to dance. Wanda accepts and goes off. Marek, drunk,
walks over with his beer and sits next to Anna.

MAREK:
Strange. She looks so .. Normal.

ANNA:
Why shouldn’t she?

Wanda is really into the dance. The man squeezes her tight. She's not against
being squeezed.

MAREK:
Do you know about Komorowski?

ANNA:
No.

MAREK:
She told you nothing?

ANNA:
Who was he?

MAREK:
A hero.. He went to hell and back for Poland. He burnt
German factories. She killed him. And they let people like
her walk free. To dance. Drink. Fuck her. And fuck this fucked
up country.

Marek walks off. Anna watches him. He looks back at her, nods, makes a sign
towards his neck for dead.
INT. HOTEL. BEDROOM. NIGHT.
Anna washes her face. She looks into the mirror. Wanda lies on her bed, still
dressed. She’s pretty far gone. Anna stands, looks over to Wanda.

ANNA:
Tell me about Komorowski?

Wanda sobers up for a moment.

WANDA:
Why?

ANNA:
Who is he?

WANDA:
Komorowski’s dead. A lot of people are dead. There are more
dead people than alive. I tried him. In ‘51. For treason. He was
sentenced to death.

ANNA:
Was he guilty?

WANDA:
He was dangerous. It had to be done.

Anna says nothing. Wanda sits up, faces Anna’s look.

WANDA:
We were making a new society. He was in the way.
We were real believers. It made sense.

Anna looks at her, wonders who she really is.

WANDA:
Don’t look at me like that. Don’t.. You’ve no idea..
You live like a saint.. From a great height.. You know
nothing about history, dialectics, progress. Sometimes you
have to get down in the shit so that others can stay pure.

ANNA:
What rubbish.

Anna gets up and leaves the room.

INT. BAR. NIGHT.

The party is over. The waiters clear up the ballroom. Lis is still there, together
with the pianist. They play Coltrane’s ballad “Naima” for their own pleasure.
Anna sits down, feeling lost. She listens transfixed. Lis spots her, keeps playing.

EXT. A STREET. WOLA. NIGHT.

Lis and Anna walk. Anna is distraught but hides it.

LIS:
How long will you stay in Wola?

ANNA:
Not long. I need to go back to the convent.

LIS:
Oh.. okay..

Anna looks towards a church. Anna heads to the door. Lis follows her. She pushes
it open. They walk in.

INT. A SMALL CHURCH. NIGHT.

It is half darkness. Anna walks in front of Lis. She stops at a painting of the
Madonna and Baby Jesus. Lis stops behind her.

ANNA:
She seems to know what will happen even though
he’s just a child. She’s protecting him. But she knows
it’s useless.

Anna wants to cry but doesn’t. She sits on a chair and closes her eyes. Lis
watches her, praying. As she prays with her eyes closed she cries too, but tries to
hide this and covers her eyes with her hand. Lis leaves her to herself and walks
out of the church.

EXT. A STREET. NIGHT.

Lis smokes and waits for Anna. She walks out now, looks at him, they say
nothing.

EXT. A PARK. WOLA. NIGHT.

Lis and Anna sit on a bench that looks towards the river. Lis lights a cigarette. He
offers Anna one. She declines. They are silent for a few moments. Lis takes
Anna’s hand, holds it. He looks at it, then kisses it. Now she looks at him. He
kisses her lightly. Lis chucks away his cigarette and kisses her gently then
harder. Anna looks at his face now. Touches it. Then she kisses his forehead and
gets up.
EXT. A STREET. WOLA. NIGHT.
Anna walks past the anniversary mural. Lis walks behind her. She looks at it. She
stands with her back against it, closes her eyes, breathes. Lis approaches, slowly.
Lis stands in front of her, touches her face, her eyes are still closed. He kisses her
face gently, she pulls him to her, they kiss, he kisses her neck. Anna is almost
breathless.

ANNA:
I’ve got to go.

Anna walks away from him, fast. Towards the hotel. Dawn starts to break.

INT. HOTEL. BEDROOM. MORNING.

Anna lies down next to Wanda, who snores.

INT. HOTEL. BEDROOM. MORNING.

Anna wakes. Looks around her. Wanda plucks her eyebrows with a compact
mirror.

WANDA:
You were talking in your sleep.

ANNA:
No I wasn’t.

Anna pulls herself up and tries to wake up quickly. She remembers the night
before and is angry, with Wanda, with herself. She gets up in the same clothes
she went out in.

ANNA:
I’m going.

WANDA:
Okay...

ANNA:
Home. To the Sisters.

WANDA:
Good. Do you want to call on Bartosik before
you leave?

ANNA:
No. I don’t want to call on him. Or on anyone.
I don’t want to be here.
Anna packs her suitcase, she is quietly fuming.

WANDA:
What happened? Is it me?

Anna tries to close her suitcase, it won’t close.

WANDA: (CONT’D)
Or are you angry with yourself? That you didn’t brush
your teeth before you went to bed?

ANNA:
Why do you do that? Why do you try to cheapen
anything that’s real?

WANDA:
That’s good. Shout at me.

ANNA:
It’s not a game Wanda. You killed people.

WANDA:
And your God hasn't? Your Religion? Over centuries.
The masses who were slaughtered. Because they had the
wrong God or because their eyes were brown instead of blue..
You don't face the world, the history. God is just an idea to you.

ANNA:
He's not. He's the truth. He's here. He's now.

WANDA:
Of course he is. He's a man made filthy reality.
Absolutely fucking filthy.

Anna goes to Wanda and slaps her. Hard. Wanda is shocked.

There’s knocking on the door.

WANDA:
Come in.

Marek comes in with Szymon in tow. Marek is drunk. Szymon looks old and very
fragile.

Szymon stands there and stares at Anna. She looks exactly like her mother Roza,
a beautiful woman whom he once secretly admired.

ANNA:
Are you Mr.Bartosik?
SZYMON:
You came from Piaski?

WANDA:
Yes. This is Ida Lebenstein.

SZYMON:
I know.

Szymon still can’t get over the resemblance. He realises what the conversation is
about.

MAREK:
And this is Red Wanda.

Szymon is not interested in Marek’s words..

SZYMON:
Have you spoken with my family?

WANDA:
Your son.

SZYMON:
What did he say?

Marek bursts out in drunken laughter.

SZYMON:
Can you go Marek. Please.

MAREK:
I’m staying here. I want hear everything.

SZYMON:
What do you want to know?

WANDA:
Who killed our family..

Szymon nods, looks at Anna.

SZYMON:
You’re the daughter? You look like your mother.

WANDA:
You sheltered them. Then killed them.
MAREK:
Look who’s talking.

SZYMON:
I hid them for seven months. The Germans were killing any
Poles who helped the Jews. What do you want from me?

MAREK:
Yeah, what do you want from him?

ANNA takes him by the arm and steers him towards the door.

MAREK:
Hey, hey.. Take your hands off little sister.
I brought him here for you.

He resists, but she manages to push him out of the room and lock the door from
inside. Marek slaps the door.

WANDA:
You gave them a hiding place.

SZYMON:
And food. I would take the boy farming with me.
He was four. I couldn’t leave him cooped up like that.

Wanda stops, lights a cigarette.

Marek is singing “The Internationale” off key at the top of his voice.

WANDA:
And then you killed all three of them?

Szymon lights his own cigarette. His hands shake.

SZYMON:
I buried them behind the stone hut. Between the house
and the river. It’s still there.

Szymon smokes. He looks at Anna.

SZYMON:
I’m sorry. For your loss. I was very fond of the boy.

Wanda stares at Szymon. Anna watches Wanda.

WANDA:
His name was Tadzio.
Szymon nods, looks pained. Wanda gets up and walks away.

EXT. A STREET. DAY.

Anna runs after Wanda.

ANNA:
Wanda?

Wanda keeps walking. Then turns towards a river path.

EXT. THE RIVER. DAY.

Wanda leans against some railings, pale. Anna approaches her.

ANNA:
Wanda? What is it?

WANDA:
He didn’t kill them. He’s protecting someone.

ANNA:
So who killed them?

WANDA:
It doesn’t matter.

ANNA:
He wasn’t my brother was he? Tadzio?

Wanda just looks at her.

ANNA:
He was your son...

WANDA:
Ida leave me alone.

ANNA:
No.

WANDA:
Please. I wish that I’d never met you.

Anna ignores Wanda's words and embraces her tight. Wanda struggles, but Anna
won't let go.
INT. HOTEL ROOM. EVENING.
Wanda and Anna drink tea together. They look at three photos of Tadzio and
Anna’s parents. Wanda cannot look. She goes to the window and looks out at a
large Socialist poster.

WANDA:
I gave him up. Left him with Roza. For an idea.
(nodding at a propaganda poster).
For this.

Anna gathers them up and puts them into her Bible.

WANDA:
It was Feliks who did the killing. He’d have been
a teenager. His father is trying to protect him.

ANNA:
Why would he kill them?

WANDA:
Why would anyone do it? We’ll ask him.

EXT. HOTEL. DAY.

Anna says goodbye to Lis outside the hotel entrance.
Wanda watches them from the car.

INT. CAR. DAY.

Wanda drives, Anna stares out of the window.

WANDA:
Did you sleep with him?

ANNA:
No.

WANDA:
That’s a shame.

ANNA:
I kissed him.

WANDA:
Good. What did you think?

Anna nods, smiles. Wanda laughs.

EXT. CENTRAL SQUARE. PIASKI. DAY.
Wanda’s Warszawa crosses the familiar cobbled square.

EXT. A FARM. EVENING.

Wanda and Anna walks towards the door. Wanda stops. She is not her usual self.
Anna sees her fear.

ANNA:
Are you alright? We don’t have to do this... We can just go.

WANDA:
No. No come on.

Anna gives Wanda her hand. They walk towards the door together. They look at
it.. Anna knocks.

INT. A FARMHOUSE. EVENING.

Wanda and Anna sit opposite Feliks and Kasia.

WANDA:
We saw your father.

Feliks nods, lights a cigarette.

FELIKS:
Go and see to the baby.

KASIA:
He’s asleep.

FELIKS:
Go into the kitchen.

WANDA:
No. Stay.
You murdered a couple and a child in the woods.

FELIKS:
My father did it.

KASIA:
Szymon. Szymon did it.

WANDA:
That’s what he said too.
FELIKS:
So what are you talking about?

WANDA:
He was protecting you. He’s willing to die for you.

Feliks looks at Wanda, at Anna who is distraught, at Kasia who is puzzled and
terrified.

FELIKS:
He’s a good man. He’s.. A good man.

Feliks loses it and cries. Kasia puts her hand on his back.

WANDA:
Why did you do it?

FELIKS:
I didn’t.

WANDA:
You did. Why did you do it?

FELIKS:
I didn’t. I didn’t do it.

WANDA:
Why did you do it? Were you scared the Nazis
would shoot you all?

Feliks cannot take the pain any more. He breathes.

FELIKS:
I was angry with Moishe. He went out there every day
and he endangered all of us by helping them. He cared more
about whether they lived than whether my mother or we did.

WANDA:
And then you claimed their house and cows.

FELIKS:
No.. No. That was later. I was trying to protect my family.

WANDA:
Take us to the bodies.

KASIA:
You’re not going to take him away are you?
Please.. Please?

WANDA:
Take us there. Now. Bring shovels.

Feliks stands, tries to gather himself. Kasia cries.

KASIA:
Don’t take him away. Please. Please don’t take him away.

Wanda, Anna and Feliks leave.

EXT. A STREET. PIASKI. DAY.

Wanda’s Warszawa drives through the town.

INT. CAR. DAY.

Wanda drives. Anna looks to the back at Feliks.

ANNA:
Where was I? Was I not there?

FELIKS:
You were. I took you to the church. And left you there.

WANDA:
Why?

FELIKS:
You were tiny. You couldn’t walk or talk. Didn’t look Jewish.
I took you to Father Andrzej. Feliks looks at them
both, breathes. He’s telling the truth.

EXT. A ROAD. DAY.

The Warszawa turns off the main road and drives into a sandy track in the
woods.

EXT. WOODS. EVENING.

Wanda, Anna and Feliks get out of the car. Feliks gets shovels out of the back of
the car and blankets. Feliks slowly leads the way.

EXT. WOODS. EVENING.

Evening sunlight comes through the trees. Feliks and Anna dig. Wanda stands by
a tree a good distance off, smoking.
EXT. WOODS. EVENING.
They keep digging. Feliks strikes something. He looks up at Anna. Wanda stares
over at them. A Villager has appeared and watches the proceedings from a
distance. In silhouette we notice he has one wooden leg and a crutch.

EXT. A WOOD. DAY.

Three semi skeletons are laid out on the ground. Bones are missing but two adult
skulls and a child’s skull are there. Anna looks at the adults then at the child. She
crouches down to look at them. Wanda approaches. Wanda touches the smallest
skull. She takes off her scarf and she brushes the mud off it. Tears are automatic
with the shock, silent.

Four more villagers have appeared and watch from a distance.

Wanda is very practical about cleaning the skull. Then she holds it in her lap, to
her. Anna puts her arm around Wanda. Wanda takes Anna’s arm away from her,
not aggressive just factual, she wants to be alone. Anna puts all the other bones
into a blanket and wraps them up.

EXT. CAR. EVENING.

Anna and Feliks put the blanket in the boot of the car.

INT. A SYNAGOGUE. DAY.

Anna looks at the star of David and the Hebraic writing. She tries the door. It
seems to be locked but with a push she opens it. Anna and Wanda go in. It is
shabby. Very in need of repair. They walk around and look at the writing on the
walls which is foreign to them. A Rabbi comes out and approaches them.

RABBI:
Can I help you?

ANNA:
I need to arrange a funeral. For my family.
Could we have a service here?

RABBI:
Your family?

ANNA:
Yes.

WANDA:
Our family. The Lebensteins.

RABBI:
You caught us just in time. We’re open for one more week.
Then they’re turning it into a swimming pool. Come with me.
I’ll talk you through it.

They walk together, passing a vast list of names written on the wall, it is so vast it
fills the whole wall. Anna and Wanda look at it.

RABBI:
They are all the local Jews. Who died in the camps.
Most of us in fact.

ANNA:
Did you question your faith? After the war?

RABBI:
It wasn’t the Jews who did the killing. Come with me.

The Rabbi leads them to his office.

INT. CAR. DAY.

Wanda drives, Anna is silent. They pull up outside the convent.

ANNA:
Will you be okay?

Wanda nods with a smile.

WANDA:
Of course. I’m Red Wanda.

Long pause.

ANNA:
Do you regret that time?

WANDA:
No. We all believed so hard we’d have died for
the cause if they’d asked us to. Or kill.
Probably how you feel about God.

Anna cannot reply, she doesn’t know what she feels about God.

ANNA:
He said “Thou shalt not kill”.

WANDA:
Nobody seemed to take much notice of that one.
ANNA:
Take care.

Anna kisses Wanda three times on the cheek and gets out of the car. Wanda looks
at Anna, wants to cry.

ANNA:
Will you come to see me take my vows?

WANDA:
No. But I’ll raise a glass to you. Go on then. Back inside.

Anna walks to the convent gate. Rings the bell. Wanda shouts.

WANDA:
Ida! You’re beautiful. I wish Roza could have known you.

Anna stops, stares at Wanda, they are both full of love for the other. The door
opens. Anna disappears inside. Wanda just sits in the car, cannot leave.

INT. THE REFECTORY. EVENING.

Anna sits at the end of a table with Bronia and Marysia. Mother Superior reads
from the Bible while they all eat. Anna cannot eat but just looks at her food.

MOTHER SUPERIOR:
Then the same day at evening, when the doors
were shut, where the disciples assembled for fear
of the Jews..

Mother Superior looks up momentarily and at Anna. Anna looks back at her,
challenges her.

INT. THE CONVENT KITCHEN. DAY.

Anna, Bronia, and Marysia peel vegetables. Bronia lifts a heavy pan.

BRONIA:
Do you think we’ll feel different? When we’re married to God?

MARYSIA:
We will. Of course. Won’t we Anna?

Anna keeps cutting potatoes.

BRONIA:
Anna? We’ll feel changed.. Won’t we?
Anna keeps working. Bronia and Marysia exchange a look.

INT. WANDA’S FLAT. A BATHROOM. NIGHT.

Wanda is in her underwear. She drinks a glass of water. She looks at her face
front on then profile. She takes her bra off and looks at her breasts, front on then
profile.

INT. WANDA’S FLAT. A BATHROOM. NIGHT.

Wanda has Mozart’s Jupiter Symphony playing loud. She runs a bath. A
neighbour knocks on the wall. Wanda raps back. Now she starts to knock on the
wall in time to the music.

INT. A ROOM IN THE CHAPEL. DAY.

Anna, Bronia, Marysia and other Postulants stand in two lines in their white
dresses. They have white flower garlands around their heads. They wear their
hair loose. Each a bride of Christ. Anna’s face shows no sign of joy, just questions.
Bronia steps forward and bends her neck down as though for execution. A Sister
gathers her wavy hair and cuts it. She weeps, smiles, beatific. Anna steps out of
line. She goes to Mother Superior who watches from some yards away. The
Postulants watch Anna. They cannot hear what she is saying but they feel the gist
of it, Anna asks for postponement. She’s not ready. Her mind is not at peace.

INT. A DORMITORY. NIGHT.

Bronia and Marysia sleep in curtained cells either side of Anna. We see them and
Anna from above. Bronia and Marysia sleep on their backs with their hands
outside of the blankets. Anna is in a foetal position and stares at her pillow.

INT. A FRONT ROOM. WANDA’S FLAT. MORNING.

Wanda sits at a table. She has photos spread out in front of her. An empty bottle
of cognac. She has obviously been up all night. She is drunk but past the point of
being drunk. She picks up the phone.

WANDA:
My niece’s number.. a convent.. What? I don’t know where...
The Sisters.. they wear blue..they work the land.. It’s a convent.

Wanda listens to the questions on the other end for a few moments abstractedly
then puts the receiver down.

INT. A BAR. NIGHT.

Wanda drinks opposite an Old Man. She is out of it, drunk.

WANDA:
No one was coerced... it all made sense.. Hard.. To believe. But it did.. Where’s
Ida? She drives a tractor.. She’s.. She’s.. Where is she?

The Old Man stares at Wanda who gets up, sways, passes out.

EXT. WANDA’S FLAT. THE FRONT DOOR. NIGHT.

Wanda tries to get her key into the door, very drunk, she drops her bag, leans
down to get it, cannot move for a moment. Her neighbour walks out, looks at her,
does nothing, disgusted.

EXT. A FIELD. DAWN.

Anna scythes grass.

EXT. THE CONVENT. DAY.

Anna walks through the rain to the chapel.

INT. THE CHAPEL. DAY.

Anna stands in front of a picture of Mary and her child. Anna lights four candles
to the virgin.

INT. WANDA’S FLAT. A KITCHEN. MORNING.

Wanda sits and drinks coffee. She is past drunk and simply empty. The Jupiter
Symphony is on. She stands up, turns the radio on, then the light, although it’s
daytime. She goes into the front room and turns the light on.

INT. WANDA’S FLAT. A FRONT ROOM. MORNING.

Wanda opens the window, looks down at the courtyard below and walks up onto
the ledge and steps off.

EXT. THE GARDEN . THE CONVENT. DAY.

Anna sits on a bench. She has been crying. Mother Superior approaches her.
Anna cannot talk to her and instead walks away from her. Then she walks back.

ANNA:
May I be excused for two days? Please.
I need to make arrangements.

MOTHER SUPERIOR:
Of course my child. You take as long as you need to.

EXT. RAILWAY STATION. DAY.

The train pulls in. Anna gets out of the train at the station. Lis stands there,
waiting, smoking.

ANNA:
Thank you. Nobody else knew her.
That’s why I asked you.

INT. WANDA’S FLAT. A FRONT ROOM. EVENING.

Anna looks out of the window that Wanda threw herself from. Lis walks up
behind her. Holds her hand.

INT. WANDA’S BEDROOM. EVENING.

Lis and Anna sit on Wanda’s bed. Lis kisses her face, gentle more than sexual.
Holds her.

INT. WANDA’S BEDROOM. EVENING.

Anna now faces Lis. She watches his face as he sleeps.

INT. WANDA’S BEDROOM. NIGHT.

Anna is curled into Lis as they both sleep.

INT. A SMALL HOTEL. MORNING.

Anna is awake with her back to Lis, the original position. Lis wakes, starts a little.

LIS: [WHISPERS]
Anna?

ANNA:
Yes. Ida.

Lis takes his arms away from her. They lie next to each other, not touching.

INT. CLUB. NIGHT.

Anna listens to Lis and his quartet playing Coltrane’s ”Giant Steps”.

INT. WANDA’S FLAT. A BEDROOM. NIGHT.

Anna and Lis lie next to each other. They do nothing for a while. Just breathe.
Then Anna puts her hand on Lis’ face. He kisses her hand. Her hand is on his
neck. All is quiet and gentle and quite animal. Lis puts his hands on Anna’s back
and they kiss now, sensual but innocent. Then stop and just keep looking at each
other. Breathe.

INT. WANDA’S FLAT. A BEDROOM. NIGHT.

Lis is on top of Anna, he is inside her, pushing himself gently, we only see her
face, slight pain, quiet tears but not unhappy. He looks at her, holds her, very
gentle.

INT. WANDA’S FLAT. A TINY KITCHEN. MORNING.

Anna sits at the table. Lis walks in. Sits beside her, takes her hand. She can’t look
at him.

INT. WANDA’S FLAT. A BEDROOM. MORNING.

Anna looks through Wanda’s wardrobe and finds a dress that Wanda must have
worn when she was younger. Anna puts it on. Lis walks in to the room, he has a
package under his arm. He walks out to the front room and puts on the jazz
record that he carefully unwraps, Mingus' “Goodbye Pork Pie Hat”. He sits and
listens. Anna walks in and sits opposite him, he is rapt.

EXT. A JEWISH CEMETERY. DAY.

Anna lays stones down on the new graves of her family. Lis stands behind her.
She looks to him, has no idea what she should do.

INT. A CAFE. DAY.

Anna drinks a milk shake. Lis is on the phone at the bar. He comes over to her.

LIS:
I have to work tomorrow. We’re going to Gdansk.
Till Sunday. Will you come with us?

ANNA:
What for?

LIS:
To be with me. We’d dance. Wake up together.
Walk on the beach. It’s beautiful, Gdansk.

ANNA:
I need to be doing something Lis.

LIS:
Marry me.

Anna smiles.
ANNA:
I’m already spoken for.

LIS:
You can’t go back. Anna?

ANNA:
I can’t .. Lead a normal life. That’s all I know.

LIS:
It wouldn’t be normal. We’d .. Do extraordinary things.

ANNA:
Would we?

Lis touches her face.

LIS:
Yes... we’d have a child. Be happy.

ANNA:
I don’t know how to do that Lis.

LIS:
You do. It’s in you.

ANNA:
But I’d need to want it. And I don’t.

LIS:
Your Aunt wanted it for you.

ANNA:
She couldn’t do it either. Do you see? Some people can.
And some.. Can’t.

Lis looks at the table, wounded.

ANNA: (CONT’D)
I’m sorry.

Anna reaches across to him and touches his face. She takes his hand and kisses it.

ANNA:
Do you understand?

LIS:
No.
EXT. A COUNTRY ROAD. DAY.
Anna walks. And walks. A car stops. She reaches it.

ANNA:
Thank you. But I’m walking.

EXT. A COUNTRY ROAD. DUSK.

Anna walks. Tired now but intent and thinking.

INT. HOTEL ROOM. DAY.

Lis sits in the open window, leans back against the frame and plays “Pork Pie
Hat” on his tenor sax.

INT. A BARN. NIGHT.

Anna sleeps in the hay. Cows moo outside.

EXT. A COUNTRY ROAD. MORNING.

Anna walks.

EXT. A COUNTRY ROAD. DAY.

It’s raining. Anna walks.

EXT. THE CONVENT. NIGHT.

Anna rings the bell. No answer. Anna rings the bell. She is incredibly tired but not
quite faint. Sister Michael comes to the gate.

SISTER MICHAEL:
Anna?

ANNA:
Yes. Yes I’m back.

INT. THE CHAPEL. DAY.

Nuns sing. Anna sings. She raises her face to the painting of Jesus half naked,
crucified, staring at her. His hands are bloodied.

INT. MOTHER SUPERIOR’S CELL. DAY.

Anna sits opposite Mother Superior.

MOTHER SUPERIOR:
How are you feeling about your loss?

Anna feels caught for a moment.

MOTHER SUPERIOR:
Your Aunt.

ANNA:
Yes. Thank you.

MOTHER SUPERIOR:
It’s natural to grieve. But it would be wicked to grieve for
too long. Your Aunt took her own life. But we must not judge her.
That is for the Lord to do. Not for us.

ANNA:
Yes Reverend Mother. Yes I know that.

MOTHER SUPERIOR:
You must have no attachments Anna.
From hereon in it’s the life of the spirit.

ANNA:
Yes. Yes... I’m ready.

EXT. A FIELD. DAY.

Anna digs a patch of field. Bells sound. She stands her spade in the ground. Her
hair is cut short. She walks towards the convent. Bronia and Marysia join her.
They all three walk together but when Anna sees the scarecrow they made
together she stops. She looks at it. The others walk on. His face is faded. He’s
ragged. But the bits of mirror are still hanging. Anna sees the light reflect from
them. She puts her hand into the light. Watches it. Then walks towards the sound
of the bell.
END.