MONA’S DREAM

 

by

 

Alexei Berteig

 

BASED ON A TRUE STORY

 

 

 

 

 

 

 

 

 

 

 

 

Beijing, China:

 

13911714474

 

Toronto, Canada:

 

23 Mossgrove St

Markham, Ontario L6E 1E8

905-472-2119

 

 

 

Voices...

 

QAZA’I (O.S.)

(IN FARSI)

Ready?

 

POURRIA (O.S.)

(IN FARSI)

Ready.

 

 

 

MONA

Eventually, God willing, you will come to see that it is because my beliefs are true that I am willing to die for them.

 

There is a pause in the typing...

 

QAZA’I

Tell me about your father.

 

MONA

My father?

 

Mona looks uncomfortable.

Qaza’i picks up a GREEN BOOK

 

QAZA’I

A lot of what you’ve written...is about him.

 

MONA

I thought you wanted to talk about my beliefs.

 

QAZA’I

Your beliefs are his beliefs.

 

MONA

No – I simply believe what is the truth.

QAZA’I

If your father had been Muslim, you would have been Muslim.

 

MONA

No. I would have become a Bahá'í.

 

INT. CITROEN HATCHBACK - DAY

It is CLAM, QUIET, an ISLAND OF PEACE.

We are looking up from the PASSENGER SEAT at YAD’U’LLAH MAHMOODNEZHAD (40) – outside the windows, we see the countryside roll by – his left hand languidly rocks the steering wheel, the other is trapped in two smaller hands...

 

TITLE: 1976 - Seven Years Earlier

 

...belonging to MONA MAHMOODNEZHAD (10) – whose POINT OF VIEW we have been experiencing.

 

Mona sits between her mom and dad in the front seat. She holds Yad’u’llah’s right hand, playing with the rings on his fingers; one of them is a WEDDING BAND, another has a SYMBOL on it...three curved horizontal lines with one vertical line down the middle, and a star on either side of the arrangement.

 

MONA

(tracing the top horizontal)

The kingdom of God...

(tracing the middle horizontal)

The kingdom of the prophets...

(tracing the bottom horizontal)

The world of mankind.

(tracing the vertical)

The spiritual nature that connects us all.

 

Yad smiles.

Mona sees something out the window: she makes little head-bobbing motions.

We see Mona’s POINT OF VIEW (P.O.V.): huge pumpjacks dot the horizon. This is oil country.

 

MONA

Giant mosquitoes!

They come to a border crossing with a sign in Farsi.

 

SUBTITLE: Iran

 

Yad’u’llah and Farkhundeh share a TENSE LOOK. The car in front of them is waved through the checkpoint, and the CUSTOMS OFFICERS slide a fence back across the road.

 

EXT. BORDERCROSSING - DAY

The Citroen has suitcases strapped to the roof.

 

FARKHUNDEH

(to Mona)

Climb into the back and sit up.

 

Mona climbs between the seats and joins her older sister TARANEH in the back.

Yad’u’llah hands their passports to the Customs Agent.

 

CUSTOMS AGENT

How long have you been living in Yemen?

 

YAD

Three years.

 

CUSTOMS AGENT

What was your business?

 

YAD

We were living in Yemen to establish a Bahá'í community. I worked as a laborer.

 

CUSTOMS AGENT

Bahá'í missionaries, huh?

 

Yad’u’llah nods.

Farkhundeh smiles maternally at him.

The customs agent looks over his shoulder at another guard, who’s busy with another car. The customs agent leans in close and WHISPERS CONSPIRATORIALLY:

 

CUSTOMS AGENT (cont'd)

My cousin is a Bahá'í.

 

The customs agent stamps their passports.

Yad’u’llah nods thanks and retrieves the documents.

The Customs Agent waves his hand and the fence slides back.

They roll through the checkpoint.

 

INT. MOVING CAR - NIGHT

Mona is asleep in the back seat.

Lights pass over her face.

The car stops, and we hear the doors open and close.

Arms reach in and scoop Mona out of the back seat.

 

INT. THE MAHMUDNEZHAD HOME, MONA’S BEDROOM - NIGHT

The room is painted BLUE. It is bare except for a bed and a desk. Yad’u’llah lays Mona down on her bed, and half-conscious she lets him pull the covers over her.

Her SLEEP BECOMES RESTLESS.

She GRABS Yad’u’llah’s arm and opens her eyes.

Seeing him, she is relieved.

She sits up and hugs him.

 

YAD

Welcome to your new home, Mona. See? I painted your room blue for you. Your desk is here, all your papers. I made it perfect for you.

 

MONA

Promise you won’t leave me again.

 

YAD

I won't. That was the last time. Now go to sleep. You’re starting school tomorrow.

 

He kisses her forehead.

QAZA’I (O.S.)

He painted your room?

 

INT. INTERROGATION ROOM - DAY

 

MONA

We moved around a lot. My dad would always go ahead of the rest of us – find a job, get an apartment.

 

QAZA’I

Do you miss him?

 

MONA

Sometimes.

 

QAZA’I

It is a tragedy that he is gone.

 

MONA

It was his ultimate victory. His last act as a father. I do miss him, but since he...died...I’ve never been lonely.

 

This answer is recorded, like the others.

 

QAZA’I

I have a daughter too. She is a lot like you. Very loving, very devoted. She would do anything for me.

 

Qaza’i puts the green book back on the desk.

 

QAZA’I (cont'd)

Like you, I think. You would even follow your father to hell. That’s where he is now. Because of his pride. Because of his arrogance before God.

 

Mona is silent.

 

QAZA’I

Do you oppose the holy war with Iraq?

 

MONA

I have no opinion about it.

 

QAZA’I

Really. Your writing says otherwise.

 

MONA

Well, I have an opinion, but it’s not the official view of the Baha’is. It’s just my own opinion.

 

QAZA’I

That’s all I’m looking for here, Mona. That’s what we’re trying to get at: what do you really think? What do you think for yourself?

 

MONA

I think the war is horrible. It’s Muslims fighting Muslims. It’s sick.

 

INSERT – mona trying to prevent Goshan from signing up for the front.

 

QAZA’I

You claim that the Bahá'í faith is not political. And yet you interfered with the recruitment of orphans for the war effort.

MONA

They were in misery. You didn’t see it before the revolution.

 

QAZA’I

Yes, well that was the time of the Shah. We got rid of him, though.

 

MONA

It was no different after the revolution, either.

 

QAZA’I

You went on a school trip.

 

MONA

Yes.

 

BORROWED;

 

1^ST VISIT TO ORPHANAGE

 

 

INT. INTERROGATION ROOM - DAY

We are back in the interrogation setup.

 

 

QAZA’I

So you felt you had to protect them.

 

MONA

Yes. They would have died in the war.

 

QAZA’I

They would have drunk the cup of martyrdom. They would have been heroes.

 

MONA

They would have died as human mine-detectors. In a war against their own brothers.

 

QAZA’I

The Iraqis are not our brothers.

 

                                    

QAZA’I (cont'd)

You know, Mona, we understand the natural loyalty any child will feel for their parents. That is the only reason we can discuss this. We know that you have inherited this spiritual disease from your parents. Your father, your mother – they, of course, left God’s religion and became heretics of their own accord. You, Mona, have the chance to chose the right path for yourself.

 

MONA

I have chosen for myself.

 

QAZA’I

Yes, I read all about it – when you were fifteen. You wrote in your journal about it. Your mom and dad threw you a ‘declaration party.’ All your older Baha’i friends came over and you indoctrinated yourself.

 

MONA

It was my decision.

 

QAZA’I

(snide)

Of course it was. Do you know I offered him a chance to recant? Of course, I could not spare his life, because he had chosen heresy for himself. But I mean I offered him a chance to recant in return for your life. And do you know what he said?

 

MONA

I hope he said that he knew you were lying.

 

QAZA’I

No...oh, no, Mona. That’s not what he said. He said – Pourria?

 

Pourria references a pre-prepared transcript.

 

POURRIA

He said: “I will not recant my faith, even if you kill my parents, my wife, even Mona.”

 

QAZA’I

Does this sound like a faith of goodness? Or does it sound like an evil faith, that it could make a man forsake his daughter who loves him so much?

 

MONA

You’re not asking the right questions.

 

QAZA’I

I’m not?

 

MONA

These questions won’t uncover the truth. Why don’t you ask me about Baha’u’llah? You should ask me to prove that He really was one of God’s great teachers.

 

QAZA’I

Do you hate me, Mona?

 

MONA

No.

 

QAZA’I

You hate me for what I have done to your family.

 

MONA

No...but things will be very hard for you.

 

Qaza’i trades a look with Pourria.

 

MONA (cont'd)

Why isn’t he recording it?

 

QAZA’I

He only records answers to the questions I have asked. It is a precaution to safeguard the truth.

 

MONA

He should record everything.

 

QAZA’I

No – I’m sure you can understand that things would get out of control very quickly.

(a beat)

Why will things be hard for me?

 

Qaza’i waves off Pourria: don’t record this.

 

MONA

Because I’m going to prove to you that I believe in the same God as you. But when you accept that, you will also have to accept that you have killed innocent men and women, in the name of truth. This will be very hard for you. You cannot see the truth because you do not want to -

 

QAZA’I

Maybe I should be the one wearing the blindforld!

 

Qaza’i and Pourria have a hearty laugh at that one.

 

QAZA’I

Tell me about the visions.

 

INT. HOUSE OF THE BAB - DAY

INSERT FIRST VISION.

 

QAZA’I

Do your visions always come true?

 

MONA

Yes. Always.

 

QAZA’I

So, you think you can see the future?

 

MONA

It’s not that simple. I dream things – and I don’t know what they mean until it happens.

 

QAZA’I

Have you ever heard of self-fulfilling prophecy, Mona?

 

MONA

Yes – that’s where you make something happen that you think is going to happen.

 

QAZA’I

That’s right. It sounds like these ‘visions’ are more like dreams, and then you make them happen.

 

MONA

No. I didn’t want for any of this to happen. I couldn’t have known it would happen like this.

 

INSERT – Mona hit by car.

Parents unwrap the bandages.

Mona especially attached to her father – she’s had a dream that he would be martyred.

 

MONA

I didn’t think any of it could really happen, until the persecution started.

 

INSERT – RACING TO SARVISTAN.

INSERT – REFUGEES AT BAHÁ'Í CENTRE

INSERT – KAMAL COMES WITH RED SWEATER.

INSERT – MONA WITH VISION

 

MONA

That was right before the revolution. That day was the first time I thought the dreams might come true.

 

QAZA’I

Like the dream about your father?

 

Mona nods.

 

QAZA’I

You believe that your dreams were sent to you by God?

 

MONA

Not necessarily, I mean, when a soul is receptive to the influence of its Creator, you can be guided in all kinds of ways...

 

QAZA’I (cont'd)

Yes, well, I have another explanation. Your father was very committed to the Bahá'í cause. He moved your family to Yemen for several years to carry out Bahá'í teaching work. He went there a few months ahead of the rest of the family...you were, what, five years old?

 

MONA

Yes, something like that.

 

QAZA’I

It’s very hard for a little girl to be seperated from her daddy like that. And then there was a civil war in Yemen – there were killings. Perhaps your dream was simply a natural, psychological release of your fears at that time – the fear of being seperated from your father. It took on this particular form of religious persecution simply because your father had filled your head with all sorts of stories about the heroic early days of your faith. There was lots of killing, wasn’t there.

 

MONA

Yes, just like now. Baha’is have always been persecuted by men like you.

 

Qaza’i smiles coldly.

 

INSERT – MONA RETURNING ON BUS FROM ORPHANAGE – PASSES BY KAMAL AND QAZA'Í IN FRONT OF STUDENT DEMONSTRATION.

INSERT – MOTLEGH AND TALIQANI ‘ENCOURAGE’ QAZA'Í TO MAKE A STATEMENT.

INSERT – QAZA'Í PREACHES TO MASSES. REVOLUTIONARY GUARDS MOVE IN. KAMAL ARRESTED. QAZA'Í ARRESTED.

 

INSERT – MONA AND YAD VISIT VAHDAT IN PRISON.

INSERT – VAHDAT’S FUNERAL.

 

 

 

 

 

CBC FOOTAGE – STUDENT DEMONSTRATIONS AT TEHRAN UNIVERSITY

 

One million students fill the open campus.

 

In 1863, a prophet named Baha’u’llah rose up in the desolate heart of the once proud country of Persia, and proclaimed that the age of universal peace had dawned. He denounced the corruption of the two traditional rulers of Persia – the Shahs and the Ayatollahs. He proclaimed that God had seized power from the kings and ecclesiastes of the world and delivered it into the hands of the people.

 

The followers of Baha’u’llah, called Baha’is, presently reside in 170 countries of the world, and represent over ten thousand distinct ethnicities, making it one of the most culturally diverse and goegraphically widespread religions in the world. In the land of it’s birth, however, the Bahá'í faith is outlawed, and its members are systematically persecuted.

 

In 1967, blah blah blah. Ayatollah Ruhullah Khomeini publicly denounced his actions, and was exiled. He settled in Neauphle de Lise in France, where he continued to criticize the regime in his sermons, which were distributed on audio cassette on the black market.

 

In december 1978 Shah Pahlavi signed into law a bill giving all American citizens diplomatic immunity. Ayatollah Khomeini called for a unilateral strike. The bazzaris, the economic pillars of Iran, who traditionally support the Mullahs, heard his call.

 

 

 

 

EXT. IRAN COUNTRYSIDE - DAY

We zoom along a long straight highway stretching across a grassy plane.

CRANE DOWN behind a CITROEN HATCHBACK BLAZING for the horizon, wheels roaring on the gravel, dust flying.

 

 

 

 

NEW SCENE: KAMAL WALKS THEM HOME

 

NEW SCENE: THE DINNER TABLE

 

NEW SCENE: MONA GOING TO BED

INT. THE HOUSE OF THE BÁB, UPPER CHAMBER - DAY

The room is a tall bright chamber with stained glass windows and wall to wall Persian carpets. Mona is seated on a cushion, DRAWING in her GREEN JOURNAL.

There is a PRESENCE in the room...his face and clothes are too bright to see...but he's familiar, and he's wearing a polyester business suit.

The BRIGHT FIGURE has THREE DRESS BOXES.

 

BRIGHT FIGURE

I have brought three gifts for you from Bahá'u'lláh.

 

He opens a box and unfolds a dress from the tissue paper –

A BLUE ROBE, EMBROIDERED with GOLD THREAD. It is like a Mullah’s aba, but made of glimmering BLUE silk.

He drapes it across Mona’s shoulders and smiles.

 

BRIGHT FIGURE

He made this for you with His own hands. Do you accept?

 

Mona NODS.

Suddenly Mona is WEARING THE ROBE.

She struggles with the tiny buttons at the neckline.

The buttons are done up by INVISIBLE FINGERS.

Mona looks up, and sees something that OVERWHELMS HER.

 

INT. MONA’S BEDROOM - DAY

Mona sits up suddenly in bed, holding her hands to her chest.

Is it exquisite pleasure or exquisite pain on her face?

 

INT. MAHMUDNEZHAD APARTMENT, DINING ROOM - DAY

Taraneh, Yad and Farkhundeh are at breakfast. Yad is just getting up from the table. Mona comes in wearing her nightgown.

 

YAD

Hi, sleepy head. I was just about to get you.

 

FARKHUNDEH

Your eggs are cold.

 

TARANEH

Mom, can I go shopping with my friends for new years?

INT. MONA’S BEDROOM - DAY

Mona JERKS AWAKE. She immediately realizes she was dreaming. She pushes the covers aside and reaches for her JOURNAL.

She scribbles a few lines, then TOSSES IT ASIDE, PURGED.

 

EXT. N.I.R.T. OFFICE - DAY

We see the sign out front: N I R T.

 

SUBTITLE: National Iranian Radio and Television network offices

 

Kamal crosses the street towards the building.

A TYPEWRITER comes flying out through the front window.

HANDS GRAB KAMAL and pull him to a doorway.

It is REZA.

 

REZA

You can’t go in there – they’re looking for you.

 

Kamal nods, his face determined.

 

KAMAL

Thanks, brother.

 

He slaps Rezas shoulder and jogs back through an alley.

 

* OMITTED 5 – QAZA'Í ARRESTED

 

INT. SEPAH PRISON, QAZÁ'Í’S CELL - NIGHT

Sepah Prison is a converted army barracks. There are no bars or jail cells, just chain-link fence or steel mesh where necessary.

 

Ayatollah Qazá'í, divested of his robes and turban, PERFORMS HIS OBLIGATORY PRAYER. His long hair is tied back into a ponytail with a piece of string. He lifts his head, and he stares at the wall, LOST IN THOUGHT...

A GUARD comes to his cell, UNLOCKS it.

 

INT. SEPAH PRISON, INTERROGATION ROOM - NIGHT

Qazá'í kneels on the floor in front of AGENT FIROOZ (30).

 

FIROOZ

What is Khomeini planning? Is there an army? Is he returning to Iran?

 

QAZÁ'Í

How would I know these things?

 

Firooz SLAPS him HARD across the face.

 

FIROOZ

Should I introduce you to Cherbu? He has prepared his whips. He is very curious to find out if Mullahs scream in Arabic or Persian.

 

Firooz casually picks up a SCREWDRIVER from the desk.

 

FIROOZ

Put your hand on the floor, please.

 

Qazá'í doesn’t move.

Firooz HITS him with all his force.

Qazá'ís HAND SLAPS DOWN on the GROUND, BREAKING HIS FALL.

Firooz LEANS HIS FOOT on Qazá'í’s LITTLE FINGER. He quickly picks up Qazá'í’s middle finger and tucks the screwdriver handle under it.

 

FIROOZ (cont'd)

Is Khomeini building an army? Is Khomeini planning to come back?

 

QAZÁ'Í

If God in heaven is just, you will live to regret this.

CRACK! Firooz STOMPS his boot down.

Qazá'í SCREAMS.

 

EXT. ORPHANAGE - DAY

Mona and two of her friends from school, Goli and Roya, stand in front of the orphanage. They have their schoolbags over their shoulders.

 

MONA

It’s not that bad.

 

GOLI

I hate this place.

 

MONA

Just come, just this once.

 

ROYA

I promised I’d go home right after school. I’ve got to go.

 

MONA

Fine. I’ll do it myself.

 

Roya skips to the kerb and hails a taxi.

Mona heads for the orphanage.

Goli hesitates, then trots after Mona.

 

INT. ORPHANAGE - DAY

They walk slowly, looking apprehensively around them.

 

MONA

I think it was down here. Was it that door?

 

GOLI

I think so.

 

Mona goes to the door and knocks very softly.

Goli SUDDENLY CLINGS to Mona.

 

GOLI

(hoarse)

It’s him!

 

From up the hall, GOSHAN approaches.

The girls FREEZE, watching him.

He sees them and WHISTLES.

He sticks out his bum and makes a farting noise.

He runs away.

GOLI

Can we go? Let’s get out of here.

 

MONA

I have to find her.

 

Mona opens the door.

 

INT. NURSERY - DAY

This is the room, all right, only now it’s not prepared for a surprise visit. The orphans literally lie in their own feces, wear diapers a week old, and there is absolute squalor.

Mona enters, horrified, and in the dim room finds Nusha. She is flushed, in a fever, shivering in her filthy bed. Mona puts a hand on her forehead.

 

MONA

Goli, get some water.

 

Goli snaps out of it and disappears.

 

MONA

Nusha, can you hear me.

 

Some light fills Nusha’s eyes and she looks at Mona.

 

NUSHA

Mommy.

 

At the word, some of the other orphans perk up.

 

ORPHAN BOY

Mommy.

 

Mona looks at Nusha with absolute pity.

She straightens Nusha’s blankets and finds her Dollie.

She tucks Dollie in Nusha’s arm.                             

 

INT. LAUNDRY ROOM - DAY

Mona shoves an armload of sheets into an industrial washer.

Nurse Mahboobieh (with the evil eye brows) stands over her shoulder.

 

NURSE M

I can’t do it all myself. There’s no money for proper help. I never take holidays, you know. It’s a shame the regime doesn’t take better care of things, but you know how the Shah is.

 

Mona nods sympathetically, starting the washer.

 

MONA

Um, do you know where the cleaning supplies are?

 

NURSE M

This way. Every year we’ve had less money and more children...

 

She leads the way out.

 

INT. NURSERY - DAY

Mona washes THICK GRIME from the WINDOWS. She POLISHES A SPOT and a RAY OF RED DUSK SUNLIGHT STREAMS THROUGH. She works on making the clean spot bigger. Goli awkwardly pulls a clean shirt over the boy orphan’s head.

 

GOLI

It’s almost six. I have to go.

 

MONA

Okay.

 

GOLI

Are you coming?

 

MONA

Soon.

 

Goli hesitates.

 

INT. LAVATORY - NIGHT

Mona and Goli give Nusha a bath.

Nusha coughs. She’s got DOLLIE in the tub with her.

Nurse M comes in, WATCHING THOUGHTFULLY.

 

NURSE M

I found these clean towels.

 

MONA

Thanks.

(to Nusha)

Come on, sweetie. You wash Dollie while I wash you.

 

Nusha focuses and perks up a bit. She holds out her hand and Mona pours some soap for her.

Nurse M watches for a moment while MONA WASHES NUSHA and NUSHA WASHES DOLLIE.

 

INT. NURSERY - NIGHT

Mona tucks Nusha into bed. Nusha makes Dollie give Mona a kiss.

 

NUSHA

She still has good dreams.

 

MONA

I’m glad. You keep that hat on her nice and tight.

 

NUSHA

Don’t go away for so long this time.

 

MONA

I promise.

 

She kisses Nusha good night.

All of the orphans want a goodnight kiss like Nusha.

 

BOY ORPHAN

Are you my mommy too?

 

MONA

Yes. Good night, prince...

 

BOY ORPHAN

Sima.

 

MONA

Goodnight prince Sima.

 

Mona kisses him goodnight.

He squeals and giggles and snuggles down in the covers.

 

INT. HALLWAY - NIGHT

Mona gently closes the door of the nursery.

Nurse M is very business-like.

 

NURSE M

Here.

 

She gives Mona a BLUE BOTTLE.

 

MONA

What is it?

 

NURSE M

Disinfectant soap. You should use it tonight. Be sure to wash your clothes.

 

MONA

Thank you.

 

NURSE M

(formal)

You’re welcome.

 

Nurse M watches Mona and Goli leave, her face perhaps a shade softer than we have seen so far.

 

EXT. ORPHANAGE - DAY

Goli is in tears. They flag a minibus.

 

MONA

You go. I live the other way.

 

GOLI

See you tomorrow. If I’m not grounded forever.

 

MONA

See you.

 

Goli leaves.

Mona checks the change in her pocket and starts to WALK.

 

INT. YAD’S SHOP, BAZAAR - NIGHT

Yad’u’llah looks anxiously at his watch.

A commotion outside –

Dozens of people fill the bazaar, waving posters of Khomeini.

 

DEMONSTRATOR

Ayatollah Khomeini is coming home!

 

Someone holds a tape player up to the mouthpiece of a battery-powered megaphone.

 

KHOMEINI’S VOICE

(subtitled)

[A leader who disregards the law of God in the Holy Qur’an disregards justice. An unjust ruler is a tyrant. We must take action now to fight this tyrrany...]

 

DEMONSTRATOR

(speaking over the recording)

Whoever will stand for justice, let him come to the Mosque. Close the Bazaar!

 

STORE OWNER

No- the mullahs are just as bad as the Shah! This is the proletariat revolution-

 

DEMONSTRATOR 2

Shut your mouth, Godless communist!

 

Fists find the Store Owner’s face. Kicks and curses propel him brutally to the edge of the crowd. He loses a couple of teeth and the shirt is torn off his back, but otherwise he gets away.

The crowd moves quickly, shop-owners CLOSE THEIR SHOPS.

Yad’u’llah is slower, more careful to appear neutral.

A few stragglers hold back – unruly teenagers.

 

THUG

If you support Khomeini, close your shop.

 

YAD

My daughter meets me here after school, brothers.

 

THUG

After school? It’s seven o’clock.

 

The thug comes right up to Yad’u’llah’s face.

 

THUG (cont'd)

The first thing Khomeini is going to do is get rid of you filthy nagess Bahá'ís.

 

Thug 2 takes a radio off a display shelf and throws it on the floor.

 

YAD

Get out! I know you, I fixed your father’s heater that keeps you warm at night! Now get out of here!

 

On the way out they throw a few more appliances on the ground. Yad’u’llah hurriedly brings down the shutter over the front of his shop and bolts it from the inside.

 

EXT. SHIRAZ STREETS, VARIOUS. - NIGHT

The crowd streaming out of the Bazaar joins into a larger river of people. Other streams of people join this river. As the growing mob moves down the major streets, it picks up more and more individuals along the way.

A man parks his car and joins the crowd.

A man hurriedly locks his shop.

Three ten-year-old boys with a dog run full tilt down a side street, intersecting with the flowing mob.

In the midst of this, going the opposite direction as the mob, is Yad’u’llah.

He turns off down a narrow street.

He comes face to face with an ADVANCING REGIMENT of the SHAH’S TROOPS.

He presses himself against the wall. They pass by, leaving him unmolested.

He continues on, even more urgently than before.

 

YAD

Mona!!

 

He calls for her, looking.

He finds a PHONE BOOTH that has been TIPPED OVER.

He leans down and extracts the RECEIVER from the BROKEN GLASS.

No luck – he drops the phone.

 

YAD

Mona!

 

He keeps running.

 

EXT. LARGE MOSQUE COURTYARD - NIGHT

All we hear is the soft roar of FIRE:

In grainy 8mm footage we see the crowds pouring in through the gates into the courtyard. The tops of the courtyard walls are lined with people sitting up there to get a better view.

We see the mullah come out of the mosque and take his position at the top of the steps. He addresses the crowd, making large sweeping hand gestures. The people pump their fists in the air, wave their shirts in the air, hoist posters of Khomeini.

We WHIP PAN OFF THE CROWD -

And onto a different Mullah in a different mosque, making very similar extravagant gestures.

We WHIP PAN OFF THE MULLAH –

And onto a third Mullah, delivering what is likely the most emphatic sermon of his life.

 

INT. BATHROOM - NIGHT

Mona comes in, carrying a PLASTIC GARBAGE BAG. She opens it up and takes out her SCHOOL BAG and a COMPLETE SET of FRESH CLOTHES. She lays the clothes on the edge of the sink. She also takes out the BLUE BOTTLE Nurse M gave her, puts it in the shower.

 

CUT FORWARD:

 

We see Mona’s face, under the BLASTING SHOWER. She SCRUBS her hair and her face with the BLUE LIQUID SOAP.

 

CUT FORWARD:

 

Mona is DRESSED, her hair in a towel. She is RUNNING A BATH. She dumps the plastic bag of clothes in the tub and adds a large helping of the same BLUE LIQUID SOAP to the water. She starts to VIGOROUSLY wash her clothes.

We hear a DOOR BANG OPEN, muted.

 

YAD (O.S.)

Where’s Mona?

 

FARKHUNDEH (O.S.)

Upstairs-

 

YAD (O.S.)

Mona! Mona are you here!

 

Mona wraps a towel around her hair.

 

YAD (O.S.)

(frantic)

Mona!

 

MONA

(calling)

I’m just getting out of the shower!

 

We hear Yad’u’llah pound up the stairs.

 

YAD (O.S.)

(right outside the door)

Mona are you all right?

 

MONA

Yes, yes! I’ll be out in a second!

 

She opens the door and Yad’u’llah wraps her in his arms.

 

YAD

(his voice ragged with relief)

Oh thank God –

 

Mona gives him a strange look: “What’s going on?”

He turns angry.

 

YAD (cont'd)

Where were you? I expected you at the shop hours ago!

 

MONA

I started a project-

 

YAD

What project! Do you have any idea what’s going on out there?

 

MONA

Dad, you’re yelling!

 

He grabs her in an embrace again.

 

YAD

(in her ear)

Khomeini has come back to Iran!

 

Mona’s eyes go wide.

 

INT. THE MAHMUDNEZHAD HOME, LIVING ROOM - DAY

Mona, Taraneh, Yad’u’llah and Farkhundeh watch the television:

 

EXT. TEHRAN AIRPORT - DAY (TELEVISION FOOTAGE)

TITLE: February 1, 1979

 

The Shah scoops up a fistful of Iranian Soil and waves goodbye from the door of his private jet.

 

EXT. TEHRAN STREETS - DAY (TELEVISION FOOTAGE)

2 Million student demonstrators clog the streets of Tehran.

A REGIMENT of the Shah's Army is confronted with a PEACEFUL CROWD of people waving white flags. The Regiment retreats, confused:

 

DEMONSTRATOR

Peace, brothers! Will you shoot your countrymen?

 

DEMONSTRATOR 2

Join the Islamic Republic!

 

Soldiers put down their guns.

We focus in on one soldier, who WEEPS as he TRADES HIS RIFLE for one of the demonstrator’s WHITE FLAGS.

 

EXT. TEHRAN AIRPORT - DAY (TELEVISION FOOTAGE)

Thousands have turned out to meet Khomeini’s plane.

 

REPORTER

What do you feel?

 

Khomeini turns straight to the camera:

 

KHOMEINI

Nothing.

 

Off Khomeini’s comment:

Kamal and Reza trade a confused look.

Khomeini walks by them.

 

INT. SEPAH PRISON - DAY

We hear a COMMOTION – Qaza'í holds the chainlink wire across the front of his cell (his hand is BANDAGED) trying to see down the hall.

Suddenly a man is at Qazá'í's gate, unlocking it. It is KHALIL (30), a howitzer in human form – he’s wearing a PRISON UNIFORM. In one hand he has keys, in another hand he has an AK-47.

 

KHALIL

Ayatollah Qazá'í?

 

QAZÁ'Í

Yes?

 

Khalil bows deeply, practically flattening himself on the floor. He leaps up.

 

KHALIL

Follow me!

 

INT. SEPAH PRISON, HALLWAY - DAY

In the narrow hallways, prisoners strip the Royal Guards of their weapons and uniforms.

Qazá'í follows Khalil through the fray.

BANG! A prisoner EXECUTES a guard at point blank range – QAZA'Í leaps back, staring in horror.

Khalil GRABS HIM and pulls him forward.

 

INT. INTERROGATION ROOM - DAY

It is the SAME ROOM QAZÁ'Í HIMSELF WAS INTERROGATED IN.

Hands roll out a carpet in the center of the room.

A rope is draped around Qaza'í, he is seated in a chair, and someone else begins wrapping Qazá'í’s GREEN TURBAN around his head.

 

A trio of REVOLUTIONARY GUARDS (plainclothes guerrillas) walk in and bow to Qazá'í with great ceremony. They are POURRIA (20), ABBAS (15) and MAJID (17).

 

Pourria puts a sealed envelope in Qazá'í’s hand.

 

POURRIA

A message from the great Father of the Revolution, Imam Khomeini.

 

Qazá'í accepts the letter.

 

POURRIA (cont'd)

He has Himself appointed you the head of the Revolutionary Court of Shiraz.

 

There's a disturbance at the back of the crowd.

The crowd spits out a lone man:

Agent Firooz.

 

KHALIL

Omid Firooz is charged with...many crimes! Including opposing the Revolution!

 

QAZÁ'Í

(to Pourria)

Is Khomeini really in Tehran?

 

Pourria nods.

 

QAZÁ'Í

And the Shah?

 

POURRIA

Gone.

 

QAZÁ'Í

Who's in control in Shiraz?

 

Pourria looks uneasy.

 

POURRIA

You are.

 

QAZÁ'Í

I am.

 

He looks at Firooz, who trembles in front of him.

Firooz' face crawls with the battle over his fear.

 

FIROOZ

Forgive me, I was...deluded, I was brainwashed.

 

A long silence...

 

QAZÁ'Í

Now, do you see who has the power?

 

Firooz nods his head miserably.

 

FIROOZ

(grovelling)

You do, your honor.

 

QAZA’I (cont'd)

(thundering)

No! ALLAH!

 

FIROOZ

Yes, yes, in God’s name, who has power over everything, I beg you for mercy -

 

Khalil KICKS him -

 

KHALIL

I should rip out your guts and stuff it down your throat -

 

Khalil suddenly steps back.

 

KHALIL (cont'd)

Sorry, your honor. He personally ordered the execution of ten of the sisters who demonstrated against the Shah. One of them was only fifteen years old.

 

FIROOZ

No, your honor, it’s not true...

 

KHALIL

Shut up!

 

Qaza'í GLARES at Firooz, RUBBING HIS BANDAGED MIDDLE FINGER.

 

QAZA’I

In the name of God, the Merciful, the Compassionate, I sentence you to death.

 

FIROOZ

No!

 

Khalil wastes no time: he holds his GUN to FIROOZ’ HEAD –

The crowd, anticipating a shower of blood, scrambles to get out of the line of fire.

 

QAZA’I

Not here! Take him outside!

 

Firooz is yanked back into the mob and out the door.

Another SAVAK AGENT is put in his place.

Qazá'í wipes sweat off his forehead.

 

POURRIA

This is agent Babak. He is accused of opposing the Revolution.

 

Pourria dumps him in the center of the room, facing Qaza'í. Pourria SPITS on him.

AGENT BABAK (30) stares around, wide-eyed.

 

QAZA’I

How many brothers of the revolution did you kill?

 

BABAK

None, your honor -

 

BANG! We hear the shot that kills FIROOZ.

Babak WHINES, hysterical.

There are a few beats of SUSPENSION -

 

QAZA’I

If you have committed murder, you must pay for your crime in this world. If you do not, you will carry that crime on your soul for eternity, burning in hell.

 

BABAK

I did not kill anyone-

 

POURRIA

You said you could snap your fingers and I’d be taken and buried alive in the desert – like you did with the others, you said! You bragged about it!

 

Babak tries to laugh at it, looking more and more sick -

 

BABAK

Your honor...it’s just a technique, a scare-tactic. You don’t really believe we’d do that – burying someone alive, that’s horrible...

 

Qaza'í is very grave.

 

QAZA’I

May God forgive you for your crimes.

 

Babak is choking on his words, his face positively crawling with fear.

 

BABAK

Look, your honor, I’ll make you a deal – I can help you – I can tell you what we did – what was done –

QAZA’I

In the name of God, the Merciful -

 

BABAK

NO!

 

QAZA’I

-the Compassionate, I sentence you to death.

 

The crowd packed into the small room ROARS with approval.

Hands grab Babak – he tears himself away and throws himself on the floor in front of Qaza'í, groveling for his life.

They drag him out, and another prisoner is brought in.

 

EXT. N.I.R.T. OFFICE - DAY

Workmen replace the NIRT sign with a VVIR sign.

 

SUBTITLE: Voice and Vision of the Islamic Republic

 

The workmen nearly drop the sign. Plenty of arguing ensues.

Kamal SNAPS A PHOTO of the historic moment.

 

INT. HOUSE OF THE BÁB - NIGHT

We are inside the exact room that was the setting for Mona’s dream about the robes.

We hear a BULLDOZER.

 

TITLE: September 7, 1979

 

The room starts to SHAKE.

Panes tumble out of the stained glass windows.

 

EXT. COURTYARD, HOUSE OF THE BÁB - NIGHT

A wall of the courtyard collapses.

A huge cloud of dust rises in the arc lamps.

The cloud of dust billows through the alleyway...

On the street, Ayatollah Taliqani oversees the process.

The CLOUD OF DUST HITS TALIQANI.

He starts to cough and waves his hand in front of his face.

He coughs harder.

He has a coughing attack, and has to sit down on the ground.

Hands help him into a car.

 

POURRIA

Stop the work! The Ayatollah is ill!

 

INT. PRIVATE ROOM, SHIRAZ HOSPITAL - DAY

Qazá'í sits at Taliqani's bedside. Taliqani looks shriveled and pathetic without his turban and voluminous robes.

Qazá'í is very troubled. Motlegh PACES, thumbing PRAYER BEADS and murmuring prayers.

 

QAZÁ'Í

You studied with Khomeini in Qom. I’m sure you must know him better than I do.

 

TALIQANI

He is exactly what is needed. As are you.

 

QAZÁ'Í

He’s appointed me as head of the Revolutionary Court in Shiraz. I’m assigned to Sepah prison.

 

TALIQANI

Yes, congratulations.

 

He waves at a glass of water.

Qazá'í picks it up but DOESN’T GIVE IT.

 

QAZÁ'Í

When will I be able to return to teaching?

 

TALIQANI

The revolution has many enemies. You are the law now in Shiraz. It is completely up to you how long it takes to dispatch them.

 

Qazá'í looks very discouraged.

Taliqani has a painful spasm.

Qazá'í, sympathizing, grasps his hand.

 

TALIQANI (cont'd)

(to Motlegh)

Brothers, come close.

 

He waves Motlegh closer.

 

TALIQANI (cont'd)

(to Motlegh)

I have chosen Qaza'í as my successor. Will you support him?

 

Motlegh summons his resolve.

 

MOTLEGH

I swear it.

 

Taliqani holds up his hand.

Qazá'í KISSES Taliqani’s ring, then removes it from Taliqani’s hand and puts it on his own.

 

INT. QAZÁ'Í’S HOUSE - DAY

Qazá'í finishes UNWINDING his GREEN TURBAN.

FIROOZIEH, his wife, brings him a BLACK CLOTH, which he begins winding around his head.

Taliqani’s RING gleams on his finger.

Firoozieh bends down and arranges the hem of his aba.

 

FIROOZIEH.

Such a handsome man.

 

He puts an affectionate hand on the top of her head.

When she stands she has trouble meeting his eye.

 

QAZA’I

What is it?

 

Still without meeting his gaze, she pulls a much-worn envelope from her pocket. Qazá'í takes the dog-eared envelope, and gives Firoozieh a look: clearly she has been carrying it around for weeks.

It has an AMERICAN STAMP on it, the address is in a Woman’s writing.

 

FIROOZIEH

Well, what does it say?

 

Qazá'í puts it in his pocket without opening it.

 

QAZA’I

Nothing.

 

He buttons up his aba.

Firoozieh leaves, upset.

Qazá'í admires his reflection in the mirror.

 

EXT. CEMETARY - DAY

Qazá'í stands in front of Taliqani’s COFFIN, before a congregation of thousands.

Qazá'í’s BLACK TURBAN is MUCH LARGER than the green one was.

QAZA’I

This is God’s holy revolution. Let us now show the world the glory of Islam. Was the Satanic Regime of the Shah conquered with bullets? No - with the power of God!

 

CROWD

Allah’u’akbar!

 

QAZÁ’Í

What, except the power of God alone could have accomplished this miracle? Nowhere in history is there an event that parallels this victory! Allah’u’akbar!

 

CROWD

(joining in)

Allah’u’akbar! Allah’u’akbar!

AYATOLLAH MOTLEGH looks on, simmering with ENVY.

 

INT. SMALL HOUSE - DAY

Yad'u'llah has the back off the television and has half-disappeared into the back of the old set.

There is a GAPING HOLE in the wall, open to the sky.

Mona is wearing a CHADOR, the head-wrap worn by Muslim women for modesty. (All the women will be wearing chadors at virtually all times from here on in.)

 

Vahdat teaches Mona a SONG:

 

VAHDAT

Like this:

Oh Lord I adore Thee

And I lay my life before Thee

Oh how I love Thee.

 

Mona sings along:

 

MONA AND VAHDAT

Oh Lord I adore Thee

And I lay my life before Thee

Oh --

 

Mona stumbles, Vahdat teases her.

 

VAHDAT

(waiting for her to join in)

Ohhhh...

 

MONA AND VAHDAT

How I love Thee...

 

Mrs. Vahdat brings Mona milk and cookies at the table.

 

VAHDAT

I’ll teach you the harmony next time.

 

YAD

(from behind the TV)

I think the fine tune on your channels has gone out.

 

MRS. VAHDAT

You see what a blessing it is that our house was burned down? Now we live two doors down from the holiest spot in Iran; the House of the Báb.

 

MR. VAHDAT

What do you think of that, Mona?

 

MONA

That's good.

 

MR. VAHDAT

Mona, I have a surprise for you.

 

She looks at him over her glass of milk.

 

MR. VAHDAT (cont'd)

The real reason your dad brought you here today.

 

She waits.

 

MR. VAHDAT (cont'd)

The Baha’i Local Assembly of Shiraz has approved for you to visit the House of the Báb today.

 

She looks at her dad.

He smiles at her and wipes his hands on a cloth.

 

MR.VAHDAT (cont'd)

Today you go on pilgrimage.

 

MONA

I don't want to go!

 

Yad'u'llah looks confused.

 

MONA (cont'd)

I mean, I’m not ready.

 

Mr. Vahdat laughs.

 

MR. VAHDAT

No one is ever ready.

 

MONA

I’m not dressed for it.

 

MRS. VAHDAT

Mona, we don’t know how much longer the House will stand.

 

Mona wipes her hands reflexively.

 

INT. HOUSE OF THE BÁB - DAY

Mona and Yad climb a very narrow set of steps.

The walls are pristine white.

Each step is sprinkled with rose petals.

Yad stops to TOUCH HIS LIPS to the edge of EACH STEP.

Mona does the same.

 

INT. HOUSE OF THE BÁB, UPPER CHAMBER - DAY

We are in the room from Mona’s ROBE DREAM.

Mona and Yad each kneel at the threshold of the room before entering. They settle.

Yad CHANTS a prayer in Farsi.

Mona listens, STARING at the floor.

He FINISHES HIS PRAYER.

He waits for Mona to begin.

She licks her lips.

He fold his hands and bows his head, waiting.

Mona looks at him:
He’s a very SERENE figure, bathed in the colors of light filtering through the stained glass windows.

Yad speaks without opening his mouth or eyes:

 

YAD (V.O.)

It starts: “The praise which hath dawned from Thy most august Self-“

 

MONA (V.O.)

I know.

 

Yad settles again.

Mona suddenly gets up and leaves.

Yad doesn’t know quite what to make of it.

 

EXT. HOUSE OF THE BÁB, COURTYARD - DAY

Mona sits on the edge of a tiny well, crying.

Yad comes and sits beside her, unsure of himself.

 

YAD

Mona, what’s the matter?

 

MONA

I just need some privacy sometimes.

 

Yad stands.

 

YAD

I’m sorry, I’ll go.

 

MONA

No, stay. Please stay.

 

Yad picks two oranges from the tree hanging overhead. He gives her an orange, and starts to peel one for himself.

 

YAD

My first pilgrimage here wasn’t very pleasant either.

 

MONA

It wasn’t?

 

YAD

I was fighting with my parents at the time. I had just become a Baha’i. It was the first time I ever yelled at my mom.

 

Mona watches her father.

 

YAD (cont'd)

I felt horrible. Here was this new religion about peace, which I desperately wanted my parents to respect, and I go and make a war out of it. I came here to...

 

MONA

Feel better?

 

YAD

To try and decide whether or not to kill myself.

 

MONA

Dad!

 

YAD

I was pretty upset. But you know what I realized?

 

MONA

What?

 

YAD

If I didn’t do it, it was like getting a free life. With a second chance to live, what is there to fear? After facing death, I realized I could become fearless.

 

MONA

I’m afraid all the time.

 

YAD

Of?

 

He gives Mona his peeled orange, and takes hers, which she hasn’t touched.

 

MONA

I’m afraid of what’s going to happen.

 

YAD (V.O.)

Not a leaf falls that God doesn’t will it.

 

MONA

Are you sure?

 

Yad is taken aback.

 

YAD

Yes.

 

MONA

What about free will? What about corruption? What about the revolution? What about war? Does God want that?

 

YAD

There are three kinds of thing that happen in this world. One is the Will of God. This is always positive. The second kind of things are acts of nature. God has set nature in motion, and it’s very essence is to be completely independent of the affairs of men.

 

Mona takes a bite of orange.

 

YAD (cont'd)

We are in awe of nature; it is a sign of God’s independence from our desire. The Creator of the Universe does whatever He pleases, and so does mother nature. The third kind of thing that happens is the result of free will. Every soul, from moment to moment, is free to choose: either he submits his will to God, or he pursues his own interest. Many of the negative things you see in the world around you are the hidden wisdom of God, but many things are truly awful. They are the sign of men’s distance from God, from their higher nature.

 

MONA

I’ve been having the nightmare again.

 

She turns her shining green eyes on him like a light.

Yad nods.

 

YAD

Death in dreams doesn’t always mean death.

 

MONA

I know. I thought it was just a nightmare, but then all these things start happening: they’re burning people’s homes, they’re killing people.

 

YAD

I would kiss the hands of the man who killed me for my love of Baha’u’llah.

 

Mona stares at him.

 

MONA

(whispered)

I know you would. But then you’d be gone.

 

YAD

I’d be nearer to you than I can ever be while my soul lives in this physical cage.

 

Mona just stares at him.

 

YAD (V.O.)

No one has ever loved a daughter like your father loves you.

 

Mona laughs, reassured.

 

YAD (V.O.)

But as much as he loves you, Bahá'u'lláh loves you more. More than any person can. More than anyone.

 

Yad’s eyes BLAZE with intensity.

 

EXT. AMERICAN EMBASSY, TEHRAN - DAY

Kamal snaps photos of the STUDENTS standing on the walls of the AMERICAN EMBASSY.

A SPECTATOR BURNS an AMERICAN FLAG and waves it around.

There is a festival-like atmosphere.

HOT DRINKS are SERVED FROM TENTS in front of the American Embassy gate. Reza takes a cup of coffee offered by a young man.

 

REZA

Here she comes.

 

A blank-faced student named MARY (20) comes to the gate. She is wrapped in a black chadoor. Several of the students are with her, guarding her – there is general excitement at their appearance.

 

SPECTATOR

Death to America!!!

 

Mary permits herself a small smile, as though the comment were a personal compliment to her.
Kamal SNAPS a PHOTO.

Mary places herself in front of the cameras.

A CBC TELEVISION CREW jostles with NBC and BBC.

 

MARY

(in English)

When we seized the embassy, the CIA barricaded themselves in the Chancellery and began shredding and incinerating all ‘eyes only’ and ‘top secret’ documents. Eventually, we were able to break through the last of their barricades, and without violence, arrest them. The floor was knee-deep in shredded documents.

 

Mary holds up a piece of paper. It is a SHREDDED DOCUMENT held together with SCOTCH TAPE. A few photographers make HALF-HEARTED efforts to snap photos of it.

 

MARY

By God’s assistance, the Students Following the Line of the Imam have pieced together this document. It proves the CIA were involved in espionage activities aimed at undermining the Revolution. It refers to agreements with certain influential Iranians. These individuals are referred to by code names. God willing, we will be able to piece together more of the shredded documents and bring any traitors to justice.

 

A CHAOS of questions from the reporters:

“Who cares!!! What about the Hostages!!”

Mary acknowledges a CBC reporter:

 

JEROME

What about the hostages? What is their condition? When can we get an interview?

 

MARY

(impatient)

It is impossible for you to interview them. Many of them have been incriminated by documents we’ve found, and some of them may have to stand trial.

 

JEROME

Trial? Will they be tortured?

 

MARY

(frustrated)

We are not the old regime. We are not the CIA!

 

ANOTHER REPORTER

Will the UN be allowed to visit the prisoners?

 

MARY

The important thing is the documents-

 

ANOTHER REPORTER

When will you release the hostages?

 

MARY

Come back next week, and we’ll make public more documents.

 

The interview is over. The reporters throw up their hands in exasperation.

Mary and her retinue return inside the American gate.

Kamal snaps another photo.

Reza takes a photo of the same thing.

 

REZA

Isn’t this incredible?

 

KAMAL

Incredibly naive.

 

REZA

Why?

 

KAMAL

Cameras don’t see documents; cameras see hostages. It makes us look like thugs to the rest of the world.

 

REZA

You think too much. Here.

 

Reza gives Kamal his camera.

 

REZA (cont'd)

Take a picture of me for my fiancée.

 

Reza APES for the camera, making sure the embassy is over his shoulder and making a Victory sign with his fingers.

 

INT. ORPHANAGE - DAY

Nurse Mahboobieh is bubbling over with excitement to see Mona.

They talk while they walk down the same dingy corridor as before.

 

NURSE M

Nusha is asking for books. She’s reading everything now! All the others want to copy her. There’s an older boy who wants to join your class as well – he’s fifteen, but he wants to learn.

 

MONA

I don’t know. He might intimidate the other children.

NURSE M

You know the boy I’m talking about, then.

 

Mona nods.

 

INT. NURSERY - DAY

The nursery has undergone a TOTAL TRANSFORMATION:

Everywhere it was dirty, it is now clean. Everywhere it was lacking, it is now supplied. There are dozens of colorful drawings and collages on the walls, the windows are clean and the sun streams in. The children are the most remarkable thing: They are clean, dressed, groomed.

 

MONA

Hey children!

 

She has a smile and a gift for each child -

Mona swings off her back pack and starts handing out crayons, sandwiches, etc...

One little tyke has a COLD, and he’s SNEEZING AND SNIFFLING. Mona comes up with a CRUMPLED TISSUE from her pocket and WIPES HIS NOSE.

Nusha is BURSTING with news:

 

NUSHA

I read a whole book by myself!

 

MONA

Good, because I brought a very special book for you. It’s a lot harder than the books you’ve read so far.

 

Mona takes out a PRAYER BOOK.

Nusha takes it carefully and reads the cover.

 

NUSHA

“Bahá'í Prayers.”

 

She walks over and flops on her bed, immediately tackling the book.

The other children go SILENT, looking towards the door. It is GOSHAN, the boy we saw before making the rude gesture. His demeanor has changed a lot.

 

GOSHAN

Khanum, can I talk to you a moment?

 

MONA

I hear you’d like to join our class.

 

GOSHAN

I want to learn how to read.

 

MONA

You’re older, so you’ll have to take more responsibilities than the others.

 

GOSHAN

Okay.

 

MONA

In addition to doing a share of washing and cleaning, you’ll have to change Mavash and India when they need it.

 

Goshan puffs up.

 

GOSHAN

Only girls change diapers.

 

Mona touches his arm.

 

MONA

If the children see you doing it they’ll become a lot more comfortable with you.

 

Goshan looks around. The children have reacted to his presence: they avoid him.

 

MONA (cont'd)

We’ll share it. Welcome to the class.

 

Mona takes a BOOKLET out of her bag, a PENCIL, and gives them to Goshan. He accepts them, STIFLING A GRIN.

 

INT. NURSERY - LATER

Mona is settling Nusha down to bed.

 

MONA

Oh Lord, I adore Thee

And I lay my life before Thee

Oh, how I love Thee

 

Nusha joins her, sleepy.

 

NUSHA AND MONA

Oh Lord, I adore Thee

And I lay my -

 

Mona corrects her:

 

MONA

And I lay my life before Thee...

 

MONA AND NUSHA

Oh how I love Thee.

 

MONA

You have a beautiful voice. Good night.

 

NUSHA

Good night.

 

Mona kisses her forehead.

 

MONA

Goodnight Prince Sima.

 

SIMA

Good Night.

 

Mona tucks in all the orphans and shuts out the lights.

 

INT. SEPAH PRISON, QAZA’I’S OFFICE - DAY

Qaza'í sorts through a huge pile of letters. Judging by the envelopes and stamps, they have been sent from every corner of the globe.

 

QAZA’I

Hungary, India, France, Canada, Chile, Australia, Greenland, Papua New Guinea – what is all this?

 

FAREED

Letters from Baha’is, your honor. Asking for the Shrine of the Báb to be respected as a holy site and place of pilgrimage.

 

QAZA’I

They all care so much about that little house. Too bad it’s too late.

 

He throws the whole file in the garbage.

 

EXT. HOUSE OF THE BÁB - DAY

Mona walks over the barren ashes of what used to be the Shrine of the Báb. She looks down:

Mona’s P.O.V: a section of one of the STAINED GLASS WINDOWS, INTACT.

 

INT. HOUSE OF THE BÁB, UPPER CHAMBER - DAY

It is a CONTINUATION OF HER EARLIER DREAM:

We see the STAINED GLASS WINDOWS, the SUN BEAMING THROUGH THEM.

A Bright Figure is in the room with Mona. He has three dress boxes...he is PUTTING AWAY a BLUE ROBE. He opens a SECOND BOX, and takes out a BLACK ROBE, cut and embroidered exactly like the first.

 

BRIGHT FIGURE

This is the robe of suffering and sacrifice. Do you like it?

 

Mona FROWNS.

 

MONA (V.O.)

I don't like suffering and sacrifice.

 

But she takes it, and drapes it across her own shoulders, feeling its silky texture.

 

BRIGHT FIGURE

I have one other gift for you from Bahá'u'lláh. Would you like to see it?

 

Mona nods. The bright figure reaches for the THIRD BOX, but when he opens it, there’s a FLASH -

 

EXT. SHRINE OF THE BÁB - DAY

Mona finds herself on her hands and knees in the debris.

She looks at her hand.

She’s cut it on the stained glass shards.

Blood drips from the soot-stained wound.

 

INT. THE MAHMUDNEZHAD HOME - DAY

Mona opens the door on a pitiful scene in her living room:

Mrs. Vahdat, who has obviously been crying, sits on the couch with her hands in Farkhundeh’s. Suitcases sit on the floor beside Mrs. Vahdat.

Yad’u’llah comes and gives Mona a huge hug.

 

YAD

Mr. Vahdat has been arrested. Three members of our Local Spiritual Assembly too.

 

Mona looks at Mrs. Vahdat, who dabs her eyes.

 

EXT. SEPAH PRISON - DAY

TITLE: Sepah Prison

 

The gate into Sepah resembles a border crossing, with lowered booms across the road and a kiosk with bullet proof glass for the guards. Yad'u'llah and Mona are just outside the gates in his Citroen hatchback.

 

INT. CITROEN - DAY

Yad’u’llah parks in the compound’s car lot.

He turns to Mona, who wears her nicest dress and a black chador.

 

YAD

They'll make you go in a separate entrance than me, but we'll be together again in the visiting area. We're allowed five minutes with each prisoner, so find Vahdat as fast as you can. Okay?

 

MONA

Okay.

 

YAD

Don't say anything about what's happening to the House of the Báb.

 

Mona nods.

 

YAD (cont'd)

You ready?

 

MONA

I'm ready.

 

YAD

Let's go. And for God's sake, don't let a single strand of hair show.

 

Mona tucks her hair into her chador.

They get out of the car and walk to the gate.

 

INT. SEPAH PRISON, PUBLIC AREA - DAY

Yad’u’llah speaks to a Pasdar with a clipboard.

 

YAD

We’re here to see Mr. Vahdat.

 

PASDAR

Family?

 

YAD

Friends.

 

The Pasdar makes a note and gestures for Yad’u’llah to go out a side door. Yad’u’llah indicates to Mona to go the other way. ZHADISKA (22), waits to escort her into the next room.

She checks with Yad’u’llah. He nods.

 

YAD

See you on the other side.

 

INT. CLEARING AREA - DAY

Zhadiska takes Mona's backpack and steers her to face a wall.

Zhadiska roughly searches her.

 

ZHADISKA

Sit here.

 

She indicates a bench, and then goes out through a second doorway.

A few moments pass.

Mona takes in her surroundings.

Very faintly, she hears a CRY of PAIN.

GOOSEBUMPS on Mona’s arm.

Mona stands and goes to the window.

 

KHALIL

You were told to wait.

 

Mona quickly sits down.

Khalil puts a clipboard in front of her with a form on it.

 

KHALIL

Write your name and address, your family name, your religion.

 

Mona takes the pen, hesitantly.

 

MONA

Where's my dad?

 

KHALIL

Fill this out.

 

He leaves.

Mona watches him disappear down a hall.

She starts to fill out the form.

Zhadiska comes back and takes the form from her.

 

MONA

Where's my bag?

 

ZHADISKA

You'll get it when you come out.

 

Mona follows her.

 

INT. SEPAH PRISON, VISITING AREA - DAY

It is an improvised visiting area – the room is divided in two by a Plexiglas partition; speaking with the prisoners will be difficult. On either side of the partition are benches for the prisoners and their visitors.

Mona quickly finds Yad’u’llah and sits beside him.

 

MONA

Oh my God.

 

Through the scratched Plexiglas, Mona watches Khalil lead Vahdat to his chair via a ROLLED-UP NEWSPAPER STUFFED into VAHDAT’S MOUTH.

 

Vahdat is wearing Kamal’s RED SWEATER.

 

Vahdat is blindfolded, and has lost at least 20 pounds, and he only weighed 130 to begin with. His hands are swathed in BLOODY BANDAGES, which explains the bizarre method by which Khalil led him to his seat.

Yad’u’llah puts a reassuring hand over Mona’s.

 

YAD

Don’t be afraid.

 

Mona removes her hand.

 

MONA

I’m fine.

 

Mona seems completely OVERCOME WITH WONDER at Vahdat’s appearance. Khalil removes Vahdat's blindfold. Vahdat blinks rapidly in the light. He sees them and grins from ear to ear. His skin is stretched thin over his high nose and cheekbones. They can’t talk – the Plexiglas is too thick.

 

Mona touches her hand against the Plexiglas, and gives Vahdat a look of total love and sympathy.

Vahadat follows suit...

Yad’u’llah wipes sweat from his forehead.

He takes a pen and address book out of his pocket.

He scribbles:

 

YAD

Is...there...anything...you...need?

 

He holds it up to the glass.

Vhadat leans closer, peering at it.

He shrugs, smiling.

Yad’u’llah writes again.

 

YAD

Enough...clothes?

 

He holds it up to the window.

Vahdat peers at it again.

He shrugs and gives them an OK sign.

Mona touches Yad’s arm...

Mona’s P.O.V.: The RED SWEATER Vahdat wears...

We hear the SOUND OF SIX RIFLES-

Yad’u’llah turns to Mona, who’s GRIPPING HIS ARM.

 

MONA

Dad. They’re going to execute him.

 

Yad’u’llah frowns.

 

MONA (cont'd)

He’s going to be martyred.

 

Yad’u’llah looks at Vahdat, who looks back at him curiously.

 

YAD

How do you know?

 

MONA

I just know.

 

He GIVES HER the PAD OF PAPER.

Mona takes a deep breath and starts to write.

She holds the pad up to the window.

Vahdat’s POV: the little note pressed up against the glass, with Farsi script on it, Mona’s concerned face in the background.

 

SUBTITLE: You’ll be with Bahá'u'lláh soon.

 

Vahdat stares at it for a long, long time...

He gives Mona a kind smile, and then makes a little writing motion, then points up in the air.

Mona frowns:

 

MONA

What is he saying?

 

Yad’u’llah looks at what Mona wrote.

He looks at Vahdat, who REPEATS THE GESTURE:

WRITING, POINTING UP AT THE SKY.

 

YAD

(guessing)

I think he’s saying...“Any messages?”

 

Mona’s pen hovers over the pad.

She writes.

 

MONA

Dad, it’s private.

 

YAD

Okay.

 

Mona holds it up against the glass.

Vahdat leans in to stare at it.

Mona holds it there, getting a little emotional.

Vahdat looks at her.

 

SUBTITLE: Let dad stay with me

 

Vahdat lifts a quizzical eyebrow.

Mona NODS.

 

MONA (cont'd)

He’ll understand.

 

Vahdat presses his hand over his heart and bows to her.

A BUZZER SOUNDS.

Mona wipes her eyes and quickly tears the page out, not letting her father see.

 

EXT. SEPAH COMPOUND CAR LOT - DAY

Yad unlocks Mona’s door.

 

MONA

Dad.

 

YAD

Yes, Mona?

 

MONA

Some of my dreams...

 

Her voice cuts out with a squeak.

She GRABS ONTO HIM, and he can do nothing except try and comfort her.

 

YAD

What is it?

 

Mona whispers in his ear:

 

MONA

Some of my dreams come true.

 

Yad’u’llah suddenly understands.

He holds her tight.

 

INT. AYATOLLAH KHOMEINI’S HOUSE IN QOM - DAY

TELEVISION FOOTAGE: Khomeini sits on a carpet on the floor of the Spartan white stucco dwelling. He addresses the CAMERA:

 

KHOMEINI

The Americans have tried every economic and physical means to control us, but they have failed. They failed to rescue their spies when grains of sand were divinely commissioned to crash their planes. They have tried every physical means, but they are fighting something non-physical. The Islamic Republic is spiritual. Now, at the behest of the Americans, Iraq has invaded. We will repulse Satan’s forces or attain martyrdom trying.

 

EXT. ORPHANAGE - DAY

Mona picks up a colored FLYER from the ground.

It’s an advertisement for recruitment into the Iranian army.

She tucks the flyer into her JOURNAL, and while she RUNS towards the compound, stuffs the journal in her schoolbag.

 

INT. ORPHANAGE COURTYARD - DAY

Two COVERED JEEPS are parked among the trees.

The orphans mill about with the soldiers.

Nurse Mahboobieh has been cornered by some guards and is signing documents.

Two FOLDING TABLES have been set up with TYPEWRITERS, and a line of YOUTHFUL ORPHANS stand in front of each.

SOLDIERS show their GUNS to the little children, even letting the SIX-YEAR-OLD boys carry them.

 

SOLDIER

(to Sima)

If you join the revolutionary army, they give you a gun just like this one.

 

Mona grabs a gun from Sima and thrusts it back at the Soldier, who is no longer grinning.

Mona takes Sima’s hand and drags him towards the sign-up tables.

She INTERCEPTS Goshan, who is about to sign on the dotted line.

 

MONA

What do you think you’re doing?

 

GOSHAN

I’m going to the holy front.

 

MONA

I didn’t teach you how to sign your name so you could sign your life away.

(to Soldier)

He’s only fourteen.

 

GOSHAN

I’m old enough to fight!

 

MONA

You must be dreaming if you think I’m going to let you go and get yourself blown to bits.

 

CATCALLS come from the soldier.

 

SOLDIER

Is she your girlfriend or your mother?

 

GOSHAN

No, no...Sign me up, I’m going.

 

MONA

You’re going to shoot people?

 

Goshan has to recover from momentary defensiveness.

 

GOSHAN

I’m going to defend my country against the Satanic-

 

MONA

You’re going to KILL PEOPLE?

 

Goshan is silent.

Mona calls to the rest of the children:

 

MONA

Children! Come inside! We have class in FIVE MINUTES!

 

Some of the younger children move towards the doors, but the older boys remain in line. Goshan FOLDS his arms and looks defiantly at Mona. EVERYONE is looking at her.

Mona looks at Nurse M, but she just stares back, helpless.

 

MONA (cont'd)

(pleading)

Goshan, you have to be an example to the other children.

 

GOSHAN

You treat me like a baby anyway.

 

Goshan SIGNS the paper on the table.

Mona makes a grab for it, but Goshan pushes her away.

 

MONA

Class is cancelled.

 

She starts to walk away...she breaks into a RUN and flies out the gates.

 

INT. HIGH SCHOOL CLASSROOM - DAY

On the chalkboard is written:

 

Oral exam - the fruit of Islam is freedom of conscience and liberty

 

The teacher looks at her watch.

Mona stands at the front of the class, giving her speech.

She tucks her hair behind her ear.

 

MONA

Why from the beginning of man's life has there been no freedom? Always, there have been powerful and unjust individuals who for the sake of their own interests have resorted to all kinds of oppression and tyranny.

 

The teacher clears her throat.

 

TEACHER

Okay, Mona, thank you.

 

Mona rolls right over her:

 

MONA

Why don't you let me be free to express our goals in this community, to say who I am and what I want, and to reveal my religion to others? Why don't you give me freedom of speech so that I may write for a publication or talk on radio and television about my ideas? Yes, liberty is a divine gift, and this gift is for us also. But you don't let us have it. Why don't you let me speak freely as a Bahá'í?

 

There is a general rumbling in the class.

Goli and Roya trade a look and hide their faces.

 

INT. VVIR OFFICES - DAY

Ayatollah Motlegh oversees a group of Pasdars who are SACKING THE OFFICE. Motlegh brandishes a copy of the newspaper.

 

MOTLEGH

I want to see every editorial this paper published since the Revolution.

 

Kamal and Reza GLARE at Motlegh.

Motlegh comes over and stands toe-to-toe wihth Kamal.

He looks at the paper and then back at Kamal.

 

MOTLEGH (CONT'D)

“We’ve allowed a band of fanatics to take the whole country hostage while the factions try to claw their way to the top. We’ve so demonstrated our inability to govern ourselves that our Muslim neighbors have seized their chance to invade us.” Very witty article.

 

KAMAL

Thanks.

 

MOTLEGH (cont'd)

If it weren’t for your uncle’s position, you’d be in prison right now.

 

KAMAL

Lucky for me.

 

Motlegh turns his back on Kamal.

 

MOTLEGH

I’m the new supervising editor here. I will approve every article that is published. Believe me, it is better that you show restraint.

 

KAMAL

Great. We’ll just censor ourselves.

 

Motlegh walks out.

 

REZA

Who’s your uncle?

 

KAMAL

Hujjat-ul-Islam Qazá'í.

 

Reza reacts to this. The phone rings on Kamal’s desk.

 

KAMAL

(into phone)

Kamal speaking.

 

Kamal looks up at Reza and turns his back, speaking low for privacy.

 

KAMAL (cont'd)

Hi, Mona.

 

INT. HIGH SCHOOL, MAIN OFFICE - DAY

Mona is in the secretary’s office, on the phone.

 

MONA

Hi, Kamal. Um, can I ask you a big favor?

 

KAMAL (O.S.)

Anything.

 

MONA

Can you come and pick me up?

 

KAMAL (O.S.)

Where are you?

 

MONA

I’m at school. I’ve been expelled.

 

There’s a pause.

 

KAMAL

Okay. I’ll come and get you.

 

Mona hangs up the phone and avoids looking at her teacher, who stands over her.

 

INT. V.V.I.R OFFICE - DAY

Kamal hangs up the phone.

Kamal shoulders his camera.

 

REZA

“Mona?”

 

KAMAL

She’s fourteen.

 

REZA

Fourteen is a cute age.

 

Kamal leaves, shaking his head. Reza follows.

 

INT. KAMAL'S CAR - DAY

Kamal GRIPS the wheel.

 

KAMAL

What were you thinking?

 

Mona is sullen.

 

KAMAL (cont'd)

How are you going to get an education?

 

MONA

I should have just called my dad to pick me up in the first place - then I would only have to get one lecture instead of two.

 

KAMAL

You know you can’t proselytize in school!

 

MONA

I wasn’t proselytizing! We had to talk about justice! How can there be justice if I don’t even have the freedom to speak my mind?

 

KAMAL

You’re a fourteen year old girl! No one wants to hear what you think!

 

Mona is totally stunned.

 

MONA

Fifteen.

 

Kamal drives, silently.

Reza, in the back seat, shakes his head and rolls his eyes.

MONA

I can’t believe you said that.

 

KAMAL

The country is at war! You can’t speak against it!

 

Reza pipes up from the back seat.

 

REZA

You did.

 

MONA

He did?

 

KAMAL

That’s different.

 

MONA

How?

 

KAMAL

It just is. I can make that choice.

 

MONA

Because you’re a man? Because you’re older?

 

KAMAL

That’s right.

 

REZA

(to Mona)

I think you should speak out for what you believe in.

 

MONA

Thank you.

 

REZA

I want you to know I have no problem with Bahá'ís. Are you really only fifteen?

 

KAMAL

Reza, cut it out.

 

Mona glances at Kamal.

They drive in silence for a moment.

 

MONA

Tell me what you wrote.

 

REZA

He wrote about the martyr brigades.

 

KAMAL

Damn it, Reza!! Can’t you keep your mouth shut?

(to Mona)

Sorry.

 

MONA

The Martyr brigades?

 

REZA

(to Kamal)

You want me to tell her, or are you?

 

Kamal clears his throat, makes a turn.

KAMAL

The Iraqis are retreating, but they left thousands of land mines. Our army can’t advance. So they recruit children. They give them little plastic silver keys, tell them that if they die they have the key to heaven. The martyr brigades join arms and walk across the fields, trying to set off the landmines.

(a beat)

Children. Human mine detectors.

 

There is heavy silence in the van.

 

INT. VAN - DAY (IN FRONT OF YAD’S SHOP)

Mona watches from inside the van as Kamal hops out and goes into the shop. There’s a pause, and then Yad comes out, wiping his hands on a rag, his face furrowed with concern. Kamal catches up and puts a hand on his shoulder. Kamal seems to be explaining things. Yad keeps looking towards the van. Mona rubs her forehead. Something Kamal says makes Yad LAUGH. We see him shake his head.

He comes towards the van.

Mona opens the door.

 

YAD

Mona, I can’t believe you.

 

MONA

Are you mad?

 

YAD

(sighing)

No.

 

KAMAL

I’d better go.

 

MONA

Thanks.

 

YAD

Yes, thank you.

(to Mona)

why didn’t you call me?

 

Kamal smiles to himself and swings into the van.

He HONKS.

Yad turns to wave, but Mona plays it cool.

 

INT. THE MAHMUDNEZHAD HOME - DAY

TIME HAS PASSED. It is a new season.

 

Mrs. Vahdat is timing Mona, who is writing an at-home test. Mrs. Vahdat is very at home and has obviously moved in.

 

MRS. VAHDAT

Time.

 

Mona turns the paper over and puts down her pencil.

 

MONA

I failed. I know it.

 

MRS. VAHDAT

I'm sure it's not as bad as you think.

 

Mrs. Vahdat takes the paper and puts it in an envelope. She puts a stamp on it and seals it.

There’s an INSISTENT POUNDING on the door.

Mona and Mrs. Vahdat freeze for a moment.

Mona gets up and peeks through the drapes to look outside.

Mona’s P.O.V: Revolutionary Guards on the doorstep. Mona looks at Mrs. Vahdat, who has an unearthly look of resignation on her face. She stands and with perfect dignity, puts down the envelope in her hand and goes to the door. It is Pourria and Abbas, the Pasdars from Sepah.

 

ABBAS

Mrs. Vahdat?

 

MRS. VAHDAT

Yes.

 

He hands her a form.

 

MRS. VAHDAT (cont'd)

It's a bill...for six bullets.

 

Abbas gives her a bunled-up sweater...it is the sweater Kamal gave to Vahdat. Now it has bloodstains and bullet holes in it.

ABBAS

You can collect your husband’s body at Sepah prison.

 

Without breaking eye contact with Abbas, she calls Mona:

MRS. VAHDAT

Mona, get my purse.

 

Mona immediately fetches it.

Mrs. Vahdat trades the sweater with Mona for the purse.

 

MRS. VAHDAT (cont'd)

(quietly, to Mona)

Thank you.

(to Abbas)

Here's three hundred Tomans. See that he is brought to the Bahá'í cemetery. We will bury him properly.

 

ABBAS

Yes Ma'am.

 

MRS. VAHDAT

Thank you.

 

She closes the door.

Mona is squeezing the sweater to her chest.

She seems frozen and sick with the pain of the news.

Mona can’t hold the tears back. She stumbles to the couch, covering her mouth.

 

MRS. VAHDAT

Save your tears for those who die without ever having lived!

 

MONA

(fully crying)

Well I feel like crying!

 

Mrs. Vahdat struggles to control her own emotions.

 

MRS. VAHDAT

Right now the angels of heaven have gathered around him to hear him recount the sufferings he endured in this life in the path of God. There is a glorious celebration today in the unseen world. It is not suitable for us to wear tearful faces.

 

Mona looks again at the sweater...

 

EXT. BAHÁ’Í CEMETARY - DAY

Mona LAYS THE SWEATER ON THE COFFIN.

A pasdar takes photographs of every Bahá'í that passes through the gates of the tiny cemetary. Four hundred Bahá'ís are crammed in to lay Mr. Vahdat to rest. The mood is TRIUMPHANT, rather than somber. A DOZEN REVOLUTIONARY GUARDS form a line at the entrance of the cemetery.

 

MRS. VAHDAT

(calling out)

No tears! Not even in your hearts! He can see your hearts now, you know!

 

Kamal and his father, MR. NAVANI (50), are there.

Abbas, is there, minus his rifle.

Mrs. Vahdat NODS to him. He steps forward.

 

ABBAS

I was on the firing squad...that night.

 

He sneaks a look at Mrs. Vahdat.

She nods in encouragement.

 

EXT. PRISON WALL - NIGHT

VAHDAT’S POV: six rifles aimed straight at us.

 

ABBAS (V.O. cont'd)

He asked us not to fire at his heart, since he had given it exclusively to God. He said you can shoot me anywhere but in the heart; that belongs to Bahá'u'lláh.

 

SQUAD LEADER

Aim for his heart.