The Russian Ark Screenplay

By David Ross. Aleksandr Sokurov’s Russian Ark (2002) is a marvel: a ninety-six-minute movie consisting of a single unbroken tracking shot. With a sensual fluidity unmatched except perhaps by Ophuls’ La Ronde, the camera follows two ghosts – one Russian, the other European, one earnest, the other ironic – as they stroll through the Hermitage Museum in St. Petersburg.

The centuries swirl gracefully about them, the twentieth century suddenly giving way to the nineteenth, the eighteenth suddenly giving way to the twenty-first, as if time itself were a gently shifting breeze. The film is pregnant with a wonderful faith that time is not an erosion, but an accretion, that some great memory catches the falling drop of the individual moment, that all is somehow gathered to the breast. As they make their tour, the ghosts maintain a patter of wry commentary and affectionate observation, humanists mingling in the parade of humanity. They have no urgent message to deliver and nothing to teach, thankfully; their pleasure is the film’s essential communication, though there is also a clouding of elegy. Meanwhile the camera makes a tour of its own, lingering on the splendid details of the palace: molding, gilding, ironwork, marble-work, drapery, china, crystal. The camera provides an implicit object lesson in the tradition of disciplined form that has made the beauty of the West, and this aspect of the film can only seem a terrible if inadvertent reproach. In comparison to the door handle or to the lace of a tablecloth, calmly wrought for the eye of God, whose discernment is infinite, our contemporary masterpieces – a Jackson Pollack, say, or the Guggenheim Museum in Bilbao – flail hysterically, as if the soul itself were abandoned and drowning.

To promote and honor the film – one of the greatest ever in my opinion – I have fully transcribed the dialogue and annotated some of the artistic and architectural detail. This task required perhaps fifteen hours of truly tedious labor. I drew upon and sometimes cribbed directly from Paintings in the Hermitage by Colin Eisler and The Hermitage Collections (2 vols.) by Oleg Yakovlevich Neverov, Dmitry Pavlovich Alexinsky, Dr. Mikhail Piotrovsky (who possibly figures in the film; see here and here).

It is sometimes difficult to identify who speaks what words, and I can’t vouch for the accuracy of my transcription in every instance. I look forward to receiving corrections and additional annotations from our conscientious and knowledgeable readers. Please consider the script below a first attempt to map the fluid, elusive drama of the film. Hopefully somebody will find it useful in its present, rough form.

Russian Ghost. I open my eyes and I see nothing. I only remember there was some accident. Everyone ran for safety as best they could. I just can’t remember what happened to me. How strange. Where am I?

[Soldiers and ladies entering the Winter Palace.]

—Marie, I must tell you something.

Russian Ghost. Judging by the clothes, this must be the 1800s. Where are they rushing to?

—What if we are denied entry?

—I’ve never been so frightened!

—Don’t forget, the girl in white is mine.

—Where are you all going?

—It’s cold! Close the doors!

—Quickly!

—Move ahead!

—I went looking for the right way to go.

Russian Ghost. Those officers don’t know the way. Can it be that I’m invisible? Or have I simply gone unnoticed? Can it be? Has all this been staged for me? Am I expected to play a role? What kind of play is this? Let’s hope it’s not a tragedy.

—What does it all mean?

—Where should we go? Maybe here?

—No, it’s there.

Russian Ghost. That man in black he wanders about, too…He nods to me but goes away.

European Ghost. Pardon me for speaking before we’ve been properly introduced. What city is this?

Russian Ghost. What city? Well, everyone speaks Russian.

European Ghost. I so hoped this was Chambord during the Directoire period. What language are we speaking?

Russian Ghost. Russian.

European Ghost. Russian? How strange! I never knew Russian before.

[Actors rehearse through a window.]

Russian Ghost. What are they doing in there? Shall we enter?

European Ghost. Where? There?

Russian Ghost. Yes, something is going on.

European Ghost. No, I have to find out what on earth I am doing here. These wanderings about, this knowing Russian…I want to leave. Your curiosity is not amusing.

Russian Ghost. Could all this be theatre?

European Ghost. Farewell! Our paths must part. Farewell. You have answered all my questions.

Russian Ghost. Farewell then.

European Ghost. Where does this door lead to?

Russian Ghost. What a pity. We will never meet again. He was obviously a foreigner. Why would he be so rude otherwise? It’s best not to get involved in this [i.e., in the dramatic rehearsal]. Let’s not disturb them. In any case, it’s much too late. Sir, sir! I’m here.

European Ghost. My Russian cicerone! Do you know the way?

Russian Ghost. Yes, let’s go together.

European Ghost. This is your country.

Russian Ghost. Yes, but not my century. How did I come to be here? I think I saw Peter the Great. [Russian tsar, 1672-1725]

European Ghost. I hear delight in your voice. Was it interesting?

Russian Ghost. Yes, very interesting. Really.

European Ghost. In Asia, tyrants are adored. The more terrible the tyrant, the more his memory is cherished. Alexander the Great, Timur, and your Peter the Great.

Russian Ghost. You’re wrong about Peter. He taught Russians to enjoy themselves.

European Ghost. A spiral staircase. Where has everyone disappeared to? I see. But why? What’s so interesting up there?

Russian Ghost. You’ll see…

European Ghost. Peter ordered his son’s execution. The same man who taught the people to enjoy life. How funny!

Russian Ghost. I thought you knew where we were going.

European Ghost. He built a European city over a swamp. He introduced order of the most primitive kind. Where are they going?

Russian Ghost. But the city is still European!

European Ghost. To a party. But why the back staircase?

Russian Ghost. They were taught to have fun. So they go to parties.

European Ghost. And the officer and the lady?

Russian Ghost. At the party.

European Ghost. Where are they? They’ve gone to the underworld. Down, down, down! And they are no more. Be careful. The stairs are steep and dark.

Russian Ghost. Thank you. I can see.

European Ghost. Do you see where we are?

[Ghosts emerge backstage as stagehands prepare for a performance.]

Russian Ghost. No, I don’t know yet. Sir, be careful! Don’t betray our presence.

European Ghost. No need to remind me. Do not forget I brought you here.

Russian Ghost. Please don’t get involved in anything.

European Ghost. And you, do not get too close to the actors.

[Actors prepare.]

—Bend towards me. You are beautiful.

—Do you remember?

—Yes.

—Good.

—Why are you pushing me?

—Don’t scratch me!

—Why is she pushing me?

—You are pushing, too.

European Ghost. What an impressive orchestra! They must be Europeans!

Russian Ghost. No, they’re Russian musicians.

European Ghost. No, Europeans. Italians!

Russian Ghost. They’re Russians, for god’s sake!

[Scattered aristocrats are seated in the Hermitage Theater, designed by Giacomo Quarenghi, 1783–87, on the model of a Greek amphitheatre. Catherine II (1729–1796), otherwise known as Catherine the Great, holds court.]

Catherine. So? I say it’s good. Very good. I need to piss! I can’t hold it in anymore!

[Catherine rushes from the theater followed by a servant. She stairs at a snowy street through a French window.]

Catherine [to the servant]. No, no, don’t, don’t. Ah! Yes, yes.

Russian Ghost. Sir, sir!

European Ghost. Don’t yell!

Russian Ghost. Where are you?

European Ghost. Here. It’s only Catherine the great.

Catherine. Follow me!

European Ghost. I love the 18th century. A time of genius and manners.

Russian Ghost. I would have to agree with you.

European Ghost. Never contradict me.

Russian Ghost. Very well.

European Ghost. Where’s the empress? Gone! Russia is like a theatre. A theatre.

Russian Ghost. Careful!

European Ghost. I think I know where we are. How pretentious they are! Don’t lag behind, sir.

Russian Ghost. I’m not. I think we’re speaking too loudly.

European Ghost. No matter. They’re completely deaf. I’m careful. I won’t touch anyone. Theatre… what actors! And those costumes! Thank you, sirs. Thank you. They can’t see me.

[Ghosts enter the Raphael Loggias in the New Hermitage designed by Giacomo Quarenghi during the 1780s. The gallery features reproductions of Raphael’s frescoes in the Vatican.]

European Ghost. This seems like the Vatican. Is that where we are? Those reliefs are painted, are they not?

What naturalism! Weren’t those decorations inspired by Raphael’s sketches?

Russian Ghost. Raphael, yes. Better than the Vatican. This is Saint Petersburg.

European Ghost. So they’re copies?  Your authorities don’t trust your own artists. Russians are so talented at copying! Why? Because you don’t have ideas of your own. Your authorities don’t want you to have them. In fact, they are as lazy as all the rest of you.

Russian Ghost. Lazy!

European Ghost. There was a painting gallery here.

Russian Ghost. On the upper floor.

European Ghost. With 111 Italian paintings. But not the best masters.

Russian Ghost. Not the best. The Tsars were mainly Russophiles. But sometimes even they dreamed of Italy. Wasn’t the hermitage created to satisfy those dreams?

European Ghost. Raphael isn’t for you.

Russian Ghost. Not for us.

European Ghost. For Italy.

Russian Ghost. Italy.

European Ghost. It’s warm there!

Russian Ghost. Warm.

European Ghost. What beauty! The small Italian gallery. Who are these people? Of which milieu are they?

[The ghosts enter the Hall of the Italian Schools in the New Hermitage, alternately called the Small Italian Skylight Hall. Designed by Leo von Klenze, with assistance from Vasily Stasov and Nicolas Yefimov, the gallery was completed in 1851. The gallery is full of twenty-first-century museum-goers.]

Russian Ghost. Do you see that vase?

European Ghost. Yes! Empire style is everywhere.

Russian Ghost. And those Voronikhine lamps.

European Ghost. Lamps…Empire, empire, empire! I have no enthusiasm for it. That style is too silly. Don’t forget it was born under Bonaparte. Then it became fashionable here to the point of becoming the national style to the detriment of its originality.

Russian Ghost. We battled Napoleon, not the empire style.

European Ghost. Who are they? Who are these people?

Russian Ghost. Petersburgers, of when the city was no longer a capital.

European Ghost. It’s better that way. A capital city should be an ancient city like Moscow. Not a chimera. Who are these people?

Russian Ghost. Should I introduce you?

European Ghost. Only if it’s not impolite.

Russian Ghost. No, they are friends. Oleg Konstantinovich, medical professor. Lev Mikhailovich, actor.

European Ghost. Shouldn’t they rise?

Russian Ghost. My European friend, he is visiting Russia.

European Ghost. My pleasure.

Russian Ghost. He’s European.

European Ghost. Medicine is a fine profession. I haven’t spoken for years. Aside from my new accomplice. Such a long time…what is that odour?

Russian Ghost. Odor?

—A curious odor.

—Have you been in Saint Petersburg long?

European Ghost. Yes, for one hour.

—And you came straight here?

European Ghost. I had my reasons.

—You must love art!

European Ghost. Are you interested in beauty or just its representation?

—No, marquis. We’re here to rest.

Russian Ghost. “Marquis”?

European Ghost. How do you rest?

—Today, we’ve come together.

European Ghost. It smells of formaldehyde.

Russian Ghost. Formaldehyde.

—Marquis, I’ll show you a splendid painting.

European Ghost. These men are emitting a very strange odour.

—Marquis, look at The Birth of John the Baptist.

—The marquis smells of formaldehyde. Is he alive?

—No, it’s you.

European Ghost. I know this painting. I saw it on my last visit here. It comes from Paris, from the Crozat collection. Catherine II acquired it in 1772. One of the earliest pieces of the hermitage collection.

[Pierre Crozat (1665–1740) was a French banker and art connoisseur.]

—Such information is for specialists. For us, detail is more interesting. Look closely here. A chicken and a cat are in the foreground. They are symbolic figures. The chicken represents greed, avarice…the cat, cynicism and cruelty.

Russian Ghost. Cynicism and cruelty… the cat…

—They are both calmed by the birth of John.

European Ghost. How interesting.

—Why is he dressed like that?

—Cleopatra, for example…what do you know of her?

European Ghost. Massimo Stanzione…Cleopatra is on the same wall as The Circumcision of Christ by the pious Lodovico Cardi.

—What bothers you?

European Ghost. Bothers me? Right next to Saint Cecilia? Can you imagine! By Carlo Dolci! And next to Eastern Still Life!

—Why does that bother you?

—Don’t argue, Oleg.

European Ghost. As a Catholic, that shocks me.

—What do you think of Wagner?

European Ghost. Who is Wagner?

—Oleg, he doesn’t know Wagner!

European Ghost. Wagner is that child who behaved badly with my best friend, Meyerbeer [German opera composer, 1791–1864]. I have never listened to Wagner.

—Broaden your horizons!

—That doctor is so insistent!

—But I’m not sick!

—We wish you much success.

European Ghost. Sir, why are they badly dressed?

Russian Ghost. My friends, how could I think that you would get along so badly? I’ll tell you one day. I’m in a strange situation. Why quarrel with everyone? If you do, we will never discover why we are here.

European Ghost. Such clothing kills a man’s creative essence!

[The ghosts enter the Gallery of the History of Ancient Painting in the New Hermitage. Designed by Leo von Klenze, with assistance from Vasily Stasov and Nicolas Yefimov, the gallery was completed in 1851. The European Ghost ponders The Three Graces, ca. 1813–1816, by the Italian sculptor Antonio Canova.]

European Ghost. Why do you find it necessary to embrace European culture? For what reason? Why borrow also Europe’s mistakes? My god! What is all this? Mother! Mother! Mother! Mother! Mother! Canova! What an elevated approach to art! What feel for the material! How wonderful! He is a true heir to the masters of antiquity! Canova almost married my mother.

Russian Ghost. Was your mother a sculptress?

European Ghost. Yes. In Rome.

Russian Ghost. In Rome? Your mother, a sculptress…

European Ghost. In this Canova collection, there are even sculptures that Tsar Alexander bought from the wife…

Russian Ghost. …of Napoleon?

European Ghost. Yes. It was 1815, I was at the Congress of Vienna [ending the Napoleonic Wars].

Russian Ghost. What were you doing there?

European Ghost. I was a diplomat.

European Ghost. A diplomat?

European Ghost. This collection was the object of a harsh dispute. Look where we are now!

[Ghosts enters the Main Staircase of the New Hermitage, as courtiers and ladies in formal wear ascend]

Russian Ghost. Is this a dream?

European Ghost. Maybe, maybe. I don’t know about you, but I’m wide awake. It’s amazing how well I speak Russian!

Russian Ghost. Yes, quite well.

European Ghost. Who was that small man? Wasn’t that Pushkin [Russian poet, 1799–1837]?

—Good day.

European Ghost. Good day. Is that your great poet? Your beloved one? I read him in French. Nothing special.

Russian Ghost. Sir.

European Ghost. My god, how touchy you are! Pardon me! I’m sorry if I’ve offended your nationalist sympathy. What is that, nationalist sympathy? What’s that there?

Russian Ghost. Please…

European Ghost. Who is that?

[The European Ghost approaches an evidently blind lady of a later period as she fondles a marble statue. They proceed to the Van Dyck Room.]

Russian Ghost. Please don’t rush.

European Ghost. All alone, without an escort?

Russian Ghost. It would be wiser not to talk to that lady. Don’t bother her.  Let’s move along.

European Ghost. Excuse me, madam, have you lost your guide?

Blind lady. Thank you for your concern. I know everything here

European Ghost. Of course. Do you work here?

Blind lady. Not at all. I’m here to admire the works of the old masters.

European Ghost. Would you accompany me into the next salon?

Blind lady. To see the Flemish masters?

European Ghost. With pleasure. Your slender fingers see all.

Blind lady. 140 paces, straight ahead.

European Ghost. 140, is that so? How many are left? Watch your step.

[Courtiers argue.]

—One cannot be so intrusive, I told you.

—It’s not the right time for this.

—It’s all your fault.

—You are compromising me!

—Oh, don’t.

—How dare you! Quiet!

European Ghost. We’re here.

Blind lady. Yes.

European Ghost. Can we go closer to that painting?

Blind lady. Would you like me to tell you about it? The Virgin with Partridges [1630s] by Van Dyck. Catherine II acquired it.

[The painting is properly called Rest on the Flight into Egypt (Madonna with Partridges).]

European Ghost. Tell me about this painting. Please, tell me.

Blind lady. See the calm and serenity around the Madonna and Joseph.

European Ghost. Joseph, yes.

Blind lady. God protects them. There is no doubt about his unseen presence. The apple tree represents life. Sunflowers stand for piety. On the upper right, partridges symbolise frivolity.

European Ghost. They’re flying away. Partridges…

Blind lady. Angels dance and play. So many other symbols that we can only guess about.

Russian Ghost. Sir, leave her. She’s an angel.

European Ghost. Why have you gone quiet? The partridges, the children, the Madonna…Thank you, madam. Thank you. I highly value your opinion on the works of Van Dyck.

Blind lady. You’ll definitely be interested in another painting.

Russian Ghost. Be very careful!

Blind lady. A Rubens.

European Ghost [to a man in white gloves carrying a ledger or book]. Sir, do not disturb me!

[The European Ghost and the Blind Lady proceed to the Rubens Room.]

Blind lady. The Feast in the House of Simon the Pharisee.

[Catherine II purchased Ruben’s painting along with 197 others in 1778 from the collection of Sir Robert Walpole, who had been British prime minister under George I and George II.]

European Ghost. The Pharisee…I don’t see it. Where is it? Thirty-six, thirty-five…No, that painting isn’t here. Not part of the Tsar’s collection.

Blind lady. Yes, it’s here.

European Ghost. That particular Rubens is not here!

Blind lady. Yes, it was from Lord Walpole’s collection like The Madonna with Partridges. But that Rubens isn’t on exhibit. But it’s here. [To the ghost] Where are you?

[The European Ghost sniffs The Feast in the House of Simon the Pharisee, which is indeed on display.]

European Ghost. What a wonderful scent! The scent of oils…

Russian Ghost. Sir, let’s leave here now.

European Ghost. No, let’s stay a while. What wonderful paintings! What are those men counting? You were right. I found it [i.e. the Rubens]

Blind lady. Let’s take a closer look. There it is.

European Ghost. We’re almost there. Face the painting directly [he faces her in the opposite direction]. There it is. Yes, there it is. Something to say about Rubens?

Blind lady. Van Dyck. Rubens considered Van Dyck to be his best pupil.

Sailor [of the 1930s?]. You know, there was a time when all these paintings were placed much higher and much closer to one another. The Tsar himself supervised how they were hung. Did you know this?

European Ghost. Who are you?

Sailor. I’m a sailor.

European Ghost. Insignias.

Sailor. Yes, the navy.

European Ghost. The Tsar visited his collection every morning. He personally saved all this…during the fire.

[On December 17, 1837, fire ravaged the Hermitage. Tsar Alexander I directed the staff and guards as they rescued the endangered treasures of the palace.]

Second Sailor. Which fire?

Sailor. In 18….

European Ghost. Are you are asking me?

Second Sailor. Enough, let’s go.

Blind lady. It’s time for me to go.

European Ghost. May I accompany you?

Blind lady. No, no.

European Ghost. What a pity.

[Gentlemen in gloves and tails–possibly curators of the palace collection–approach.]

—I must ask you to leave. The museum is closing.  Please see yourself to the exit.

—Quiet. Close the door.

—The museum is closing.

[The ghosts stroll through the Tent Hall (?) and enter a new gallery–a Flemish Gallery?]

European Ghost. How was my scene?

Russian Ghost. I wasn’t impressed.

European Ghost. I was joking.

Russian Ghost. Joking…

Russian Ghost. Do you hear music?

European Ghost. I hear something.

European Ghost. Russian music makes me break out in hives.

Russian Ghost. That has nothing to do with the music. Why do you look at me like that?

[The European Ghost contemplates Frans Van Mieris’ A Young Woman in the Morning, ca. 1659–1660. The painting shows a woman beckoning to a dog while a servant to the rear makes a bed. The “rags” presumably refer to the ribbons tied what seems to be a mirror.]

European Ghost.  Rags…a dog…

Russian Ghost. Rags…a dog…

European Ghost. Eternal people…

Russian Ghost. Eternal people…

European Ghost. Live and go on living. You’ll outlive them all.

Russian Ghost.  Eternal people…

[Addresses figure putting on gloves.]

European Ghost. What are you doing? Eavesdropping? Are you interested in painting? What nice little hands! Stay away from me!

[The European Ghost comes to a new gallery and approaches a young man of our own time contemplating El Greco’s The Apostles Peter and Paul, ca. 1587–1592. The ghost kneels before the painting.]

European Ghost. Amen. Amen.

Young Man. Beautiful, isn’t it?

European Ghost. Absolutely. Are you Catholic?

Young Man. No, I’m not Catholic. Why do you ask?

European Ghost. It seemed to me that you were deep in thought while admiring the images

of the founders of our church.

Young Man. I don’t know. I wasn’t thinking about that.

European Ghost. You were not…Do you know that those are the apostles Peter and Paul?

Young Man. Yes, that’s what I heard.

European Ghost. That’s what you heard. And so?

[The European Ghost gradually corners the young man threateningly.]

Young Man. I looked at them because I like them.

European Ghost. You like them…

Young Man. One day, all men…

European Ghost. All men…

Young Man. …will become like them.

European Ghost. Really? How can you know what will become of people if you don’t know the scriptures? Why aren’t you saying anything?

Young Man. Look at their hands.

European Ghost. The hands are beautiful. And so? How can you know what will become of people if you don’t know the scriptures? For you, they’re just two dusty old men. Just flesh.

Young Man. They’re covered with dust from their long road to appear in this painting.

Russian Ghost. What happened?

Young Man. They are good and wise.

European Ghost. How can you know their character if you have not read the gospels? How can you know all that?

Russian Ghost. Sir, why are you frightening him? He was already afraid.

European Ghost. He’s not afraid. These people are never afraid.

Russian Ghost. Leave him alone. Better to appreciate the scent of the paintings.

European Ghost. It smells good.

Russian Ghost. Very good.

Young Man [cowering]. You need not fear.

[The ghosts enter the Tent Hall.]

European Ghost. So strange to hear those words. Now I understand. We’re in the gallery. Yes…I understand. We’re in the Tsar’s gallery…near the portrait of a medieval fanatic. Where have we wandered to? That music was good, after all. Who was the composer?

Russian Ghost. [Mikhail] Glinka [Russian composer, 1804–1857].

European Ghost. Who is he? A German?

Russian Ghost. A Russian.

European Ghost. No, he’s German. All composers are german.

Russian Ghost. All composers are German?

[The ghosts enter the Rembrandt Room]

European Ghost. El Greco. Very nice. Looks like a Rembrandt. El Greco…dust from the roads. What dust from the roads? [Contemplates an oil portrait] Nice, very nice.

Russian Ghost. Something you don’t like?

European Ghost. Not at all. It’s nice, very nice.

Russian Ghost. Nice…

European Ghost. More flesh…very nice. These are nice paintings.

Russian Ghost. Nice paintings…They’re getting better and better.

Russian Ghost [referring to the painting]. There’s an angel.

[The ghosts arrive at a sumptuous nude–Rembrandt’s Danaë, 1636–before which a woman of our own time croons and gesticulates.]

European Ghost. Pardon me for addressing you without an introduction. To whom was that directed? Do tell.

Woman. I’m speaking to the painting.

European Ghost. You are speaking to the painting? How interesting!

Woman. I must speak my mind.

European Ghost. Speak your mind? And so you talk to the painting.

Woman. Would you like to try?

European Ghost. Must I try? Very well.

[They begin to dance.]

Woman. Like that.

European Ghost. Like this?

Woman. Now, like this. Now a turn. Sometimes I prefer speaking to myself. This painting and I…we have a secret.

European Ghost. Really?

Woman. Yes.

European Ghost. Now it’s over.

Woman. That’s all, gentleman. Good-bye!

European Ghost. Where are you going, madam? She’s offended. She has left.

Woman [blows kiss]. Hi! Good-bye! Farewell, gentleman!

European Ghost. How charming! She’s offended. But so charming! Where has she gone?

[The European Ghost contemplates Rembrandt’s The Return of the Prodigal Son, mid-1660s, as the sound of an airplane emanates from outside. He proceeds to the Council Staircase.]

European Ghost. Marble…a white stone…very white. Rather cold, isn’t it?

Russian Ghost. When you first came here, it must have been disastrous. That was just after the fire [i.e., the Hermitage fire of 1837].

European Ghost. I have been here before, but it’s as if I have not. What luxury! What is that? It’s under the Convention that everything was devastated [referring to the French revolutionary assembly that sat between 1792 and 1795].

Russian Ghost. You don’t know 20th-century Russian history. Our Convention lasted 80 years [referring to the communist era]. A real revolution…very sad.

European Ghost. What kind of system is there now? A republic?

Russian Ghost. I don’t know.

European Ghost. I have never believed that a republic was suitable for a country as large as Russia.

Russian Ghost. You Europeans are democrats who mourn the monarchy. You are French, is that it?

[Soldiers – nineteenth century? – approach.]

—Who are you?

European Ghost. Excuse us, we’re lost.

—Please be on your way.

European Ghost. Let us live! Let us live!

—Remaining here is forbidden!

European Ghost. Help us, please. Who forbids it? What is forbidden? What language! Everything is forbidden!

Russian Ghost. It’s better not to argue.

European Ghost. We’re going, we’re going.

Russian Ghost. I know where we can hide.

European Ghost. I suddenly feel afraid. I don’t like military uniforms.

Russian Ghost. Not that door, sir!

European Ghost. But I like it. Such a beautiful door!

[The ghosts enter cold and dingy room full of empty picture frames. A man builds coffins. The era is the Second World War.]

Russian Ghost. No, not that one! Why is it so cold?

Russian Ghost. I told you not to enter.

European Ghost. What cold! Frames…but where are…where are the canvases?

Russian Ghost. Let’s go back, I beg you.

Man. Who’s there?

European Ghost. It’s me.

Man. Why have you come here?

European Ghost. I don’t know. I simply entered.

Man. Come closer.

European Ghost. I’m coming. Maybe you need help, kind sir.

Man. Who is the “kind sir”?

Russian Ghost. Me… you…

Man. Not here, not there. There is no one. Only coffins and corpses. Come and see.

European Ghost. I’m coming.

Man. That’s my coffin.

European Ghost. Your coffin?

Man. Yes, I made it myself.

European Ghost. Why that strange tone, kind sir? Why coffins in the hermitage?

Man. “Kind sir”! It’s my coffin.

European Ghost. Yes, it is yours.

Man. He looks well-fed!

European Ghost. But where are the corpses?

Man. Why do you ask “where”? Don’t step on the corpses. He looks well-fed! You stepped on the corpses!

European Ghost. What happened?

Russian Ghost. The war.

European Ghost. Which war? Against whom?

Russian Ghost. Against Germany.

European Ghost. What is Germany?

Russian Ghost. The unified state of the Germans. In the 20th century, Russia was at war with Germany. The Germans surrounded the city. But the city did not surrender. More than one million dead.

European Ghost [amused]. More than one million?

Russian Ghost. Yes.

European Ghost. That’s a high price to pay. Very high. Saint Petersburg and the hermitage paid dearly.

Russian Ghost. In Russia, it is said that freedom knows no price.

European Ghost. A very high price. But maybe not.

Russian Ghost. But it has already been paid.

European Ghost. I was wrong, by the way, when I criticised your Tsars for all this beauty and opulence. Even if they all were tyrants.

[The ghosts enter the elaborately neo-classical Pavilion Room.]

Russian Ghost. Quieter, please.

European Ghost. But it is beautiful, isn’t it? What do you see? Who is it? Maybe Catherine II, but I’m not certain.

Russian Ghost. Nothing could be less certain.

Catherine. That’s enough! Lisa, take away the children.

European Ghost. Don’t go too near to her. If it is Catherine, she has a sixth sense…

Catherine [showing the children how to curtsy]. Like this.

Servant [to the curtseying children]. Lower, lower!

Catherine. That will be all. The candles, the candles. It’s stuffy in here. There.

[Catherine desires a walk in the snow.]

Servant. No, I won’t let you.

[Catherine exits into a courtyard–the Hanging Garden of the Small Hermitage–as her footman tries to prevent her.]

Catherine. That’s it.

Servant. But it’s cold outside.

Catherine. That’s it.

[Catherine begins to run.]

European Ghost. Sir! Where are you? I hear your footsteps. Where are you? Mortals must not chase royalty. You won’t catch up anyway. I hear your footsteps. I hear them. Sir, what are you doing? It’s cold! Come this way.

Russian Ghost. Yes, it’s cold.

[The ghosts reenter the Hermitage.]

Russian Ghost.  She disappeared.

European Ghost. I know.

Russian Ghost. She disappeared again.

European Ghost [to a soldier guarding a door]. Move aside.

Russian Ghost. Do you know where to go?

[The ghosts happen upon actors in costume and disport with them.]

European Ghost. Help us. Come. Let us through. We are allowed. Where is the door? Where is it? Greetings! Don’t be shy. Come. We will not stay long. Thank you very much. A new hairstyle is necessary.

Russian Ghost. What beautiful hair you have! Those curls!

European Ghost. Tea! Would you like tea? I don’t either, but they insist. Where is the tea? We’re in a hurry. Where is it? I know I’m beautiful.

—Too beautiful.

European Ghost. What do you want me to say?

—Come on!

European Ghost. I have nothing to say! What is that?

—Did you write this book?

European Ghost. Not me. He did. Neither he nor I. But he will dedicate it. Follow me.

Russian Ghost. Sir, what are you looking at? Shall we continue?

European Ghost. What do I see? Nothing for the moment. Some people are obviously waiting

for something. Let’s proceed with caution. These madmen could eat you.

Russian Ghost. They liked your hair.

European Ghost. Of course, good writers always have beautiful hair. Be more careful and quiet now.

Russian Ghost. I’m following you.

European Ghost. Close the door quickly.

Russian Ghost. It’s done.

[The ghosts intrude on a diplomatic ceremony in the St. George Hall on the Winter Palace. It was designed by Giacomo Quarenghi, 1785–95, and reconstructed by Vasily Stasov and Nicolas Yefinov after the fire of 1837. Tsar Nicholas I (1796–1855) presides.]

European Ghost. When I was last received here at the winter palace it was being renovated after the terrible fire. The parquet doesn’t creak.

Russian Ghost. It doesn’t creak…

Announcement: The ambassador of Persia!

European Ghost. Excuse us for being late.Sir, let’s go.

Announcement: The ambassador of His Highness the Shah, Prince Khozrev-Mirza, the son of the future shah, with his entourage.

European Ghost. Do you know what is happening?

Russian Ghost. Not yet.

European Ghost. We are witnesses. Nicholas I received an apology from the Persian emissaries regarding the murder of Russian diplomats. Griboedov was one, I think. How interesting. Are you able to see? What uniforms! Luxury, empire…power…look over there. Higher. Can you see?

Russian Ghost. Yes, I see now!

—One must not trust this world. You are right.

European Ghost. Beware, court officials are cunning. Some of them are mediums. They could sense your presence.

Russian Ghost. Thank you for your advice. We Gemini are curious by nature.

European Ghost. I’ll move ahead. Maybe I’ll meet old acquaintances.

Russian Ghost. Good luck. I’ll find you later.

Translation of the Shah’s commnunique: Mighty sovereign emperor! The peaceful nature of Persia and the sacred union that exists among his majesty and the Shah were both upset by evil. Under its power, a frenzied Tehran crowd committed unheard-of acts of evil. The resulting victim was the Russian mission. The honest heart of Fetkh-Ali-Shah was horrified by the idea that a handful of wrongdoers might destroy our peace and union. His majesty the Shah has sent me, his grandson, to request that you, sovereign erase from memory this event. Let the world know that, despite this terrible event two wise monarchs, with their infinite wisdom, speak openly and vanquish all suspicion. With the greatest joy, I stand before you, your Imperial Majesty. I carry out my grandfather’s will that we strengthen peace between our two peoples.

—His imperial majesty commands me to assure your excellence of his pleasure at hearing your explanation as well as the righteous plea of your sovereign.

Diplomat [to the European Ghost]. I’ve been observing you. Who let you enter? You have no business here.

European Ghost. That’s correct.

Diplomat. Then you must leave at once. Off you go, sir! Away!

European Ghost. I had no intention of staying.

Diplomat. Away!

[The ghosts enters a banquet room–the Armorial Hall–as servants prepare.]

European Ghost. This ceremony will continue for a few more hours still. As a former diplomat,

I’m aware of that. A terrible boredom will set in. Terrible! Leave me alone! And what is that?

—What did you say?

European Ghost. I adore luxury and regal splendour. Stasov wasn’t a bad architect. He loved discipline, but left space for breathing.

Russian Ghost. We cannot stay here. The ceremony will finish. Then they will all come in.

European Ghost. My god! Sevres porcelain, my weakness!

Russian Ghost. Beautiful.

European Ghost. Yes, yes!

European Ghost. Inimitable!

Russian Ghost. Beautiful.

European Ghost. This is the cameo service?

—Yes, it is.

—Not so close, please.

European Ghost. What gold!

—Sir, it’s awkward setting the table with you here.  You can admire it later when you are seated. Please do go away.

European Ghost. What pure tones! The blue and gold are enchanting. And the wine-sediment colour! Always such marvellous cooks here in the Winter Palace.

Russian Ghost. Do you recall the taste of food?

European Ghost. No, I have forgotten.

Russian Ghost. You’ve forgotten…

—Visit the other salons while waiting for the dinner bell.

European Ghost. That blue!

—Please, sir.

European Ghost. There’s dancing. Come on. Let’s leave here.

Russian Ghost. We’re being chased away.

European Ghost. Chased away…

[The ghosts enter the darkened Memorial Hall of Peter the Great (also called the Small Throne Room) in the Winter Palace. Designed by Auguste Ricard de Montferrand, it was completed in 1833 and restored after the fire of 1837 under the direction of Vasily Stasov. The niche contains an allegorical depiction of Peter with the Goddess Minerva painted by the Venetian Jacopo Amiconi, ca. 1730s, as well as a gilded throne made in London by Nicholas Klausen.]

Russian Ghost. It’s so dark here.

European Ghost. Heavens! I see you have never seen a Tsar nor grand princes in all their magnificence.

Russian Ghost. Monarchy is not eternal.

European Ghost. As if I didn’t know. Don’t I have the right to dream a little?

Russian Ghost. We are free, you and I. Dream away. There’s someone here. Do you hear voices? Sir, don’t you hear them?

European Ghost. No, I don’t hear anything.
Russian Ghost. Look, someone is moving there.

European Ghost. Where?

[The ghost witnesses an obscure discussion between directors of the Hermitage. The participants seem to include directors Iosif Orbeli (1934–1951), Boris Piotrovsky (1964–1990), Mikhail Piotrovsky (1990-current). The third director may not be the younger Piotrovsky but Mikhail Artamonov (1951–1964).]

—Mr. Orbeli, I don’t understand. What has upset you so? You and my father know: No insect can harm this throne.

—It’s made of silver and treated oak.

—It’s not the throne.

—I’m very worried. See that velour from Lyons. It’s completely worn out.

—We’ll restore it. Be patient.

—You don’t have the time.

—You’re right, Boris. We don’t have time either. You won’t ever see him again. Speak! He’s your son.

Russian Ghost. What difficulty are they having? They seem uncomfortable with each other.

European Ghost. What do you expect? You descend from the heavens and no longer know how to behave.

—Your son is Hermitage director.

—Like you and I before him. The wars ahead… terrible wars. But we managed to preserve all this through the catastrophes.

European Ghost. I can’t hear anymore. And you?

Russian Ghost. Yes, I hear. But not very clearly.

European Ghost. What are they saying?

Russian Ghost. The elder Piotrovsky is asking whether the director’s telephone is still under surveillance. His son tells him, “Forget that. I would prefer telling you about the hermitage cats. They are still here…”

—There are so many people that I wasn’t able to help. Ten years have passed. You know what I’m referring to.

—But everyone speaks well of you. Your books are still in print. Those of Mr. Orbeli, too.

—That’s particularly admirable. The dead weep with joy when their books are reprinted. Especially years later, Mikhail.

—Is something still troubling you?

—Is it the authorities? They want acorns from oak trees. They are not interested in knowing how to nurture the tree of culture. But it will be their doom if the tree falls. Then there will be nothing left. Can’t they understand that?

—Mr. Orbeli, what awaits us?

—I’m coming!

—Speak!

—Listen, Mikhail…

—Let him go.

—You’re completely alone.

European Ghost. They won’t tell him anything. I know, ask me!

Russian Ghost. I am asking you…

European Ghost. Everyone can see the future, but no one remembers the past.

[The ghosts enter the Field Marshall’s Hall. Soldiers–nineteenth century?–march in formation.]

European Ghost. Look how handsome they are! Such fine young men! Beautiful uniforms, even if I don’t like the military.

Russian Ghost. You didn’t answer my question. Nothing, you know nothing. Sir! Wait! He doesn’t hear me. I must apologise. They said other things. I could hardly hear them. I made it all up, about Orbeli…about Piotrovsky, too.

European Ghost. Only god can judge you.

Russian Ghost. I made it all up.

European Ghost. We are free, you and I. You said it yourself!

[The ghosts enter a corridor–the Portrait Gallery of the Romanov Dynasty. Five beautiful young girls in vaguely classical gowns flit and play. The ensuing scenes depict the family life of Tsar Nicholas II (1868–1918). Following the Russian Revolution of 1917, Nicholas and his family were first imprisoned and then executed.]

Russian Ghost. Please, don’t run.

European Ghost. Run! I can’t keep up with you. Little birds.

Empress Alexandra [walking with a nun]. Children! Anastasia, where are you going? They are…so light! You’re always watching me. I have a bad feeling.

Nun. Don’t be alarmed. Pray. And I shall pray for you.

Alexandra. Did you hear that? Did you hear shots?

Nun. Calm down. God is with you.

Alexandra. I think someone is following us.

Nun. Calm down, Alexandra.

Alexandra. If only Alexis could run…Doctors are good for nothing. There is no hope. It’s my fault. Children! Children, behave yourselves!

Girls. Sorry, excuse us.

Alexandra. Come here, Anastasia. Where were you? I looked for you all morning.

Anastasia. We were playing.

Alexandra. Let’s go.

[Alexandra and Anastasia enter the Small Dining Room.]

—Where is Alexis?

—Thank you, I can manage.

—Of course.

—Are you in pain?

—I’m fine, mother.

—Move your chair forward.

—You are late for tea.

—Forgive me.

—What do you think? Shall we forgive her?

—Anastasia won’t do it again.

—It looks like it’s not your fault.

—[to the nun] Good-bye.

Nun [exiting, to the four girls who remained outside the breakfast room]. Fly away, my little angels!

[The ghosts pass through the Concert Hall and enter the Great Ballroom as a dance begins—the same dance that the soldiers and ladies were readying themselves for at the start of the film. The orchestra seems to belong to our own time.]

—And here’s their cage.

—They’re all here, of course.

—There haven’t been so many guests for a long time.

—Good evening.

—Look at that strange fellow.

Russian Ghost. But where has my European gone? Where is he? There he is! He doesn’t see me. I should go up to him. Otherwise he will be offended. Sir! He can’t hear me. But I’ll see him later

—Wouldn’t it be nice to jump about like that?

—You know Aristarkh Konstantinovich is being sent to Africa.

—What a tiger! He could eat anyone!

—Your mother has trained the servants well.

—Don’t be shy! You are doing very well. The most important for the mazurka is…

—You are doing great.

[The European Ghost joins the dance.]

European Ghost. Thank you. Saint Petersburg has the best balls in Europe. Everyone is so easygoing. Like one big family. There must be over three thousand people. Maybe less. I’ve fogotten everything! I dance so poorly! I’ve forgotten everything! But it’s all coming back to me! Good, very good!

—Bravo! More! More!

Russian Ghost. Where were you? I lost you.

European Ghost. I’m here.

Russian Ghost. I lost you. Lost…I’m sad. Let’s go.

European Ghost. To where?

Russian Ghost. Where? Forward. Forward…

European Ghost. What will we find over there?

Russian Ghost. Over there? I don’t know.

European Ghost. I’m staying.

Russian Ghost. Farewell, Europe. It’s over.

[Crowd disperses noisily down the main staircase of the Winter Palace. The stair hall was built between 1754 and 1762. It was designed by Francesco Bartolomeo Rastrelli and restored after the fire of 1837 by Vasily Stasov.]

—You might say I grew up here.

—But I’m not quite myself.

—It’s as if I were in someone else’s house.

—Listen up! Look here!

—Poor man, your lady has gone away!

—Flown away like a bird!

—Gone…in a flash!

—Shall we dine together?

—I’ll wait downstairs. Bring up the coach. Have our coats brought up. And don’t lose them!

—When we return to Kursk, we must organise a ball. Just before Lent, for example.

—I think we should invite your nephew as well as Varenka. Let him see.

—Nathalie!

—It feels like we’re floating.

—It seems all this is but a dream.

—But you have found her! Nothing has happened!

—Custine!

—Let me pass!

[A view of a misty and turbulent sea.]

Russian Ghost. Sir, sir…It’s a pity you’re not here with me. You would understand everything. Look. The sea is all around. We are destined to sail forever. To live forever.

Posted on February 3rd, 2011 at 12:18pm.