THE DEBT
Written by
Matthew Vaughn, Jane Goldman & Peter Straughan
1 INT. CARGO PLANE. MILITARY AIRBASE. ISRAEL - DAY 1
A strange ROARING sound...
CLOSE ON A YOUNG WOMAN
...in darkness. Light begins to spill on her from the right
- revealing her face, lost in thought. This is RACHEL
SINGER - pretty, painfully young looking. A surgical
dressing covers half her face.
As we pull back a little we see that two YOUNG MEN sit
either side of her. They are STEPHAN GOLD (thirties) thick-
set, capable, and DAVID PERETZ (late twenties), dark-haired
and pale-faced.
The three faces in the darkness, each looking straight
ahead - something from a Caravaggio painting.
The roaring, which we realise is the sound of ENGINES,
gradually runs down into silence.
The light from the bay door which is opening off-screen
begins to flood the scene with HARSH DAYLIGHT, revealing
the inside of a CARGO PLANE.
Stephan turns to look at the growing light. Then he turns
to Rachel.
STEPHAN
Breathe.
He stands. Rachel turns to look at David but he is standing
too, his face a mask.
Rachel gathers herself, then stands and turns to follow the
other two, walking towards the light.
As the three approach the opening and descend the ramp of
the bay door, we hear a woman's voice:
SARAH (V.O)
We should never forget how young
they were.
EXT. AIRBASE RUNWAY. ISRAEL - DAY
TRACKING THE THREE
...as they walk across the tarmac - first Stephan...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 2.
SARAH (V.O.)(CONT'D)
My father, Stephan Gold, was the
youngest Unit Commander in
Mossad.
David is next...
SARAH (V.O.)(CONT'D)
David Peretz had his twenty-ninth
birthday while on the mission.
Then Rachel.
SARAH (V.O.)(CONT'D)
My mother was even younger. Only
twenty-five.
RACHEL'S P.O.V
Silhouetted against the bright light is a group of waiting
MILITARY and MOSSAD DIGNITARIES. Their hands are raised in
applause.
SARAH (V.O.) (CONT'D)
Despite their youth they'd had
the courage to confront an
unimaginable evil....
The three walk towards their welcoming party. Rachel blinks
against the sunlight, takes out a pair of sunglasses and
slips them on.
2 OMITTED 2
3 INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - DAY 3
CLOSE ON OLDER RACHEL
...now 56. Handsome, impeccably groomed. A long crooked
SCAR runs down one side of her face.
SARAH (O.S)
...a man whose sadistic
experiments left thousands
disfigured or dead, who became
known by a name which defiles the
annals of medicine: The Surgeon
of Birkenau.
She's wearing tinted glasses, staring at us, listening to
Sarah speak.
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REVERSE
Rachel's daughter - SARAH - stands at a podium, reading the
Dedication to a rather large audience who have come for the
launch of her first book.
She's 31, and clearly her mother's daughter.
The cover image from the book is projected on a screen
behind Sarah - a black and white photograph of a young
Rachel, David and Stephan. Above their faces, the title -
In Our Hands.
SARAH
Their mission had been to return
him to Israel to stand trial.
Instead it ended with his death
on the streets of East Berlin...
CUT TO:
4 EXT. MILITARY AIRBASE. ISRAEL - DAY - THE PAST 4
CLOSE ON YOUNG RACHEL
...as she waits behind David and Stephan, face bleached out
by the sunlight. She stares at the ground.
SARAH (V.O.)
But this was not what was
celebrated. It was their youth
itself that became a symbol. Here
were the children who had faced
Israel's greatest nightmare, her
greatest pain...
David and Stephan have moved out of shot and Rachel reaches
the DIGNITARIES. Still looking down, she manages a smile, a
bob of her head, reaches out to shake the first hand...
5 INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV. DAY 5
CLOSE ON OLDER RACHEL
...lost in the memory.
SARAH (O.S.)
...and in the simple act of
facing the Monster, had helped to
vanquish it.
Sarah, has finished reading and looks for her mother in the
audience...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 4.
SARAH (O.S.) (CONT'D)
This book is dedicated to my
inspiration. My mother, Rachel
Singer.
People around Rachel begin to applaud, the sound almost
startling her. Automatically she gives the same bob of the
head, acknowledging the applause.
Sarah, cheeks burning with a mixture of embarrassment and
emotion, hasn't finished yet. She locks eyes with her
mother.
SARAH (CONT'D)
Mother, I'm so very proud to be
your daughter.
More applause. Rachel manages to smile.
6 INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - LATER 6
The room is now alive with the excited chatter of the
guests.
Rachel moves against the tide of the audience with a fixed
social smile, murmuring thanks to well-wishers, trying to
get out, trying not to look like she's trying to get out...
7 EXT. TEL AVIV. HOTEL NEAR TEL AVIV. PATIO - CONTINUOUS 7
She emerges onto the empty patio, slides the glass door
shut behind her, muffling the chatter from the room beyond.
She lights a cigarette, inhales greedily, trying to calm
down. She stares at the sun blazing over the Mediterranean
ahead of her. Her glasses darken against the reflected
glare.
As if sensing something she turns to see a SMALL BOY - her
GRANDSON - watching her from behind the glass of the patio
door, something UNNERVING in his direct gaze.
Rachel stares back at him in silence.
Sarah appears behind the boy, her son, and scoops him up
into a hug. Still the boy stares at his grandmother, who
gives a tight smile and turns back to the sea.
Another guest walks up to Sarah and she nods, smiling, at
what he is saying to her but her eyes slide back to her
mother, standing on the other side of the glass.
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8 1NT/EXT. APARTMENT BLOCK. TEL AVIV SUBURB - DAY 8
A shabby, dimly-lit stairwell in a run-down section of the
city.
A YOUNG MOSSAD AGENT knocks at one of the apartment doors.
After a moment it is answered by OLDER DAVID, now 62.
YOUNG AGENT
David Peretz?
DAVID
Yes.
YOUNG AGENT
You were expecting me?
David looks at this young version of himself.
DAVID
Yes. I was expecting you.
YOUNG AGENT
Would you come with me sir?
David stares at him, then walks back into the apartment.
The door almost swings shut and the Agent catches it,
considering walking in after him. But before he can, David
re-emerges carrying his jacket.
DAVID
Let's go.
TITLES BEGIN -
We TRACK with David, CLOSE on his face as the two men begin
the long walk down the staircase.
He doesn't say anything to his companion, doesn't look
around him, and we HOLD on that face as his mind tries to
catch up, tries to work something out, to decide...
9 EXT. STREET - CONTINUOUS 9
The apartment block stands on stilts. Abandoned furniture
is piled around the columns supporting the building.
Still on David as the two men walk out from the darkness
into the street that services the run-down estate. David
follows as the agent moves ahead towards a larger road.
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They cross a busy carriageway, and wait for a moment on the
central reservation for a break in the traffic.
Parked on the far side of the road, two identical cars,
their windows tinted.
The Agent moves to the leading car, opens the driver's door
and gets in. David stops in the road, opens the rear
passenger door and throws his jacket inside.
He pauses for a moment and turns to look back at the second
car.
10 INT. CAR - CONTINUOUS 10
A MAN sits in the back of the car, silhouetted against the
brightness outside. This is OLDER Stephan, now 63.
He watches as David straightens up, hands on hips,
squinting up at the sun.
11 EXT. STREET. TEL AVIV SUBURB - CONTINUOUS 11
DAVID
(Indistinctly)
Sorry.
The Agent turns.
YOUNG AGENT
What, sir?
DAVID
(Beat)
I - I think I...
He stands like that for a moment and then suddenly STEPS
OUT INTO THE ROAD in front of an on-coming TRUCK. The
impact sweeps him out of the frame.
The shocked Agent scrambles out of the vehicle as other
cars screech to a halt in front of David's lifeless body.
TITLES END.
12 EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT 12
A celebratory dinner for the book launch is in progress -
publishers, journalists, local dignitaries...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 7.
Rachel is re-joining the table, taking her place beside her
daughter amidst the dinner party chatter. Sarah watches
her.
SARAH
When are you going to stop?
RACHEL
Stop what?
SARAH
The smoking.
RACHEL
Soon.
SARAH
I hope so. Do it for your
grandson.
SARAH
Are you sure you have to go back
home tomorrow?
RACHEL
It's all arranged, I'm afraid...
SARAH
But we'll have breakfast before
you go? I thought maybe we could
take a walk on the beach? (Trying
to sound casual) I'd like you to
see more of him.
A WAITER leans over with WINE for Rachel. She covers her
glass.
RACHEL
(To Sarah, ill-at-ease)
Well, I'll be back. We
can...maybe in the holidays or...
MIRIAM, a PUBLISHER appears at her shoulder with a copy of
Sarah's book.
MIRIAM
I've marked the place. I thought
perhaps from chapter eleven...?
RACHEL
...Yes, thank you.
Rachel nods absently, flicking through the pages of the
book. Sarah realizes, with a small stab of pain, that she
has no idea what that means.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 8.
SARAH
If you'd rather read something
else, mother.....
RACHEL
No, that's fine.
Rachel is barely listening. She is staring at a black and
white photograph in the book.
We see that the photograph is of a YOUNG MAN in NAZI
UNIFORM. It's titled: DIETER VOGEL, "The Surgeon of
Birkenau."
MIRIAM
You must be very proud.
Rachel looks up at her, realizes what Miriam is talking
about.
RACHEL
(A little automatic)
...It's a wonderful achievement.
I'm very proud of her.
MIRIAM
And I'm sure you were invaluable
in the research.
SARAH
(Keeping it light)
Actually, my mother withstood all
interrogation. My father was the
talker. (Trying a joke) I'm the
only journalist in Israel she
won't speak to.
Miriam laughs obligingly but Sarah instantly regrets the
remark.
There is a sudden excited MURMUR from the table. The women
look over to where Stephan approaches the table. He is in a
motorised WHEELCHAIR. The Mossad Agent attends discreetly
in the background.
Rachel's face hardens.
RACHEL
I thought he couldn't come.
SARAH
(Standing up, surprised)
So did I.
Several of the local POLITICOS have stood up to greet
Stephan, who is all smiles and handshakes.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 9.
STEPHAN
(To the politicos)
Please, sit, sit. My God, it must
be election season.
There's good-natured laughter from the table. Sarah joins
her father, kissing his cheek.
SARAH
You came.
STEPHAN
I came. So you're the famous
author I've heard so much about?
Rachel watches as he takes a place at the table, picks up a
copy of the book and examines the cover photograph, holding
his glasses a little from his eyes to focus.
STEPHAN (CONT'D)
(Without looking)
Rachel.
RACHEL
Stephan.
STEPHAN
(To Sarah)
Now you're the expert, maybe you
could tell me something.
(Pointing to himself) Who's this
handsome devil on the cover?
More polite laughter from the table.
STEPHAN (CONT'D)
It went well?
SARAH'S HUSBAND
She was wonderful.
STEPHAN
That's good. Good, good. That's
very good.
Rachel takes a sip of water and notices Stephen's hands,
crumbling some bread - they're SHAKING.
She looks up at his face, reads the hidden STRAIN there.
He senses her gaze and meets it, and for a second his smile
falters and SOMETHING LIKE PANIC flickers in his eyes.
Rachel stares back at him, disturbed. Miriam stands,
tapping her glass with her fork.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 10.
MIRIAM
I just want thank you all for
coming to help us celebrate the
launch of this wonderful book.
I'm sure we're all particularly
thrilled to have two of the
heroes of this story at the
table. And even more thrilled
that one of them has agreed to
read for us...
Applause. She gestures to Rachel who stands, still looking
at Stephan. The table quietens down. Rachel opens the book
at the marked place and hesitates, only now realising what
she is about to read. Then...
RACHEL
(reading)
"On the evening of the 31st of
December, it began to rain more
heavily. So isolated had they
become from the outside world
that it was only when she looked
out of the window that Rachel
remembered it was New Year's
Eve...
13 INT. KITCHEN. BERLIN SAFE HOUSE - NIGHT - THE PAST 13
Young Rachel stands in the small kitchen. Rain lashes on
the window. She stares out at some FIREWORKS exploding
nearby, then turns away and begins to gather three METAL
SAUCEPANS from the shelves.
We TRACK with her as she walks into the...
14 LIVING ROOM 14
And begins to place the pots on the floor to catch the
rainwater which is dripping through various points in the
ceiling.
As she positions the last pot we REVOLVE around her to get
our first view of the far wall. And there, tied to a
radiator, is DIETER VOGEL, now 50. He's bound, his mouth
taped, apparently asleep.
Rachel doesn't, of course, react to this sight. Instead
she begins to clear away some pieces of BROKEN GLASS BOWL
from the floor. We TRACK with her as she walks back down
the short hallway into the kitchen, drops the pieces of
bowl into the bin. From the living room comes the three
distinct PINGS of rainwater dripping in the pots.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 11.
She stops suddenly, puzzled. It's a moment before she works
out what she's noticed - something has changed in the sound
of the rainwater next door.
There are only two drips instead of three.
She walks back towards the living room...
RACHEL'S P.O.V - through the living room door we can see
that one of the pots has been overturned. Rachel slows to a
stop. A sudden wave of adrenalin causes her to turn
but...it's too late. Vogel steps out of the alcove he's
been standing in so that he is directly in front of her.
Before she can even cry out he has slashed her face open
with a SHARD OF GLASS.
Instinctively she cups her hands to her ripped face. Vogel
grabs her by the hair and stepping behind her, tries to
worm his other hand underneath her raised arms to reach her
throat with the glass.
Her training kicking in, Rachel uses a krav magah move to
grab and twist Vogel's forearm, breaking his hold on her
and turning the arm until, with a yell of pain, Vogel drops
the shard. He swings wildly at her, but Rachel ducks the
fist and drives the palm of her hand up into his face.
Vogel stumbles back, surprised by her speed and the sudden
pain of the blow.
Rachel is about to press home the attack but is blinded by
blood from her wound washing into her eyes.
As she wipes her eyes clear, Vogel grabs a LAMP from a
small chest of drawers in the hall and smashes it into her
face. She falls.
Vogel begins to run, but, driven by adrenaline and
desperation, Rachel scrambles onto all fours and lunges at
him, catching hold of his trouser leg as he moves towards
the front door.
Vogel stumbles, manages to pull a leg free and stamps down
on Rachel who lets go with a moan. He stamps again, steps
free and kicks her hard in the head.
Rachel rolls with the force of the kick and comes to a
rest, losing consciousness.
RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of
darkness - Vogel's feet as he stands beside us, breathing
hard. Then he turns and hurries to the front door...and
out.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 12.
15 EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. 15
Vogel hurries along the walkway and sets off DOWN THE
SPIRAL STAIRCASE of the apartment building.
16 INT. BERLIN SAFE HOUSE. NIGHT. 16
Rachel lies motionless. Then a cough. And another. And
finally she rolls over, holding her gaping cheek with one
hand, and drags herself towards the CHEST OF DRAWERS.
17 EXT. STAIRWELL - NIGHT 17
Vogel runs down the spiral staircase.
18 INT. HALLWAY - NIGHT 18
With difficulty, Rachel pulls out a GUN fitted with a
silencer... and pulls herself towards the door.
19 EXT. STAIRWELL - NIGHT 19
Vogel's dwindling figure as he nears the bottom of the
stairs.
20 EXT. WALKWAY - NIGHT 20
Streaming blood from her face, Rachel heaves herself out of
the apartment towards the railings guarding the walkway. We
hear the clatter of Vogel's feet on the stairs below. She
raises the gun to the railings, to take aim....
21 EXT. COURTYARD - NIGHT 21
Bursting from the stairwell, Vogel starts to run across the
courtyard towards the street.
22 EXT. WALKWAY/COURTYARD - NIGHT 22
Rachel's aim follows Vogel's lunge for the gateway...
RACHEL'S P.O.V
There is a lurid flash of fireworks from nearby and for a
moment we see Vogel lit, about to make it to the gate and
disappear forever...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 13.
Rachel FIRES. A single shot. And, improbably, incredibly,
the tiny figure of Vogel drops.
Rachel hangs over the banisters far above us, gun in hand,
staring at us with disbelief.
23 EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT 23
Rachel finishes reading and puts the book down.
Nobody moves. The air of bonhomie has been replaced by an
uneasy silence. Not knowing what else to do, one of the
guests begins to clap and the others hurriedly join in.
Rachel doesn't acknowledge the applause.
Stephan is staring at her with a STRANGE INTENSITY.
24 INT/EXT. STEPHEN'S CAR. TEL AVIV - NIGHT 24
Stephan and Rachel sit in the back of the car. Behind a
screen the young Mossad Agent we saw earlier sits in the
front next to the Driver. Tel Aviv races by in neon smears.
The air is charged with tension.
RACHEL
(Of the driver)
He's driving too fast.
Stephan ignores her. She turns to the window, watches as
they streak past another car.
RACHEL (CONT'D)
This is ridiculous. What's so
important? Tell me where we're
going?
STEPHAN
We're going to David's apartment.
Rachel turns to him, startled.
RACHEL
David...?
STEPHAN
I keep track of people Rachel.
It's my job. (Beat) I know he
came to see you yesterday.
RACHEL
(contemptuous)
What's this? The jealous ex-
husband or the intelligence
officer?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 14.
STEPHAN
A little of both. What did he
want?
RACHEL
Fuck you.
STEPHAN
What did he tell you?
Something about his intensity unnerves her.
RACHEL
He didn't tell me anything. (Off
his look) He didn't! He told me
where he'd been travelling, that
he'd been teaching... We spoke
for a few minutes and then I had
to go.
Stephan is still staring at her, reading her.
RACHEL (CONT'D)
(Bristling)
If you don't believe me ask him
yourself.
And then he can't keep it from his face - and she knows.
Something terrible has happened.
25 INT. LIVING ROOM. DAVID'S APARTMENT - NIGHT 25
Stephan sits in the middle of the squalid living room, lost
in thought.
26 BEDROOM 26
Rachel walks slowly though the room, taking it all in - the
little islands of occupation, the places where David sat,
read, slept. Piles of newspapers. Used cups. A mound of
laundry...
ON Rachel as she looks about her, looking for something,
some sign from the man she knew. But there's nothing
personal here. These are the rooms of a man who had no real
home.
27 BATHROOM 27
Rachel walks in and switches on the light. She stares
around the dirty bathroom.
CUT TO:
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 15.
28 CLOSE ON YOUNG DAVID 28
...turning to face us, the beautiful smile...
CUT TO:
29 BACK ON OLDER RACHEL 29
...as she begins to cry.
30 LIVING ROOM - CONTINUOUS 30
Stephan sits listening to her breaking down.
31 LIVING ROOM - LATER 31
Rachel sits on the couch.
RACHEL
Why did he do it?
Stephan looks at her, considering.
He takes out a sheet of PRINTED PAPER, hands it to her. She
reads some of the first page, then looks up at him.
And now we see it on her face too. Fear.
32 EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT 32
The Mossad Agent sits on the stairs, smoking.
As the door behind him opens he stands aside and watches
Rachel SWEEP past him down the stairs, without giving him a
glance.
33 INT. RACHEL'S HOTEL - NIGHT 33
Rachel is packing, folding clothes neatly, precisely,
silently - all the time a terrible tension in her
movements.
She tries to close a drawer but it sticks, She keeps
trying, then in a sudden rush of fury yanks the drawer free
and hurls it across the room.
She stands breathing hard.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 16.
34 EXT. PATIO TERRACE/BEACH. HOTEL NEAR TEL AVIV - DAY 34
The next day. Tables under umbrellas are ranged along the
terrace.
Sarah and her husband are on the beach below, playing with
their son, laughing. As if feeling our gaze, she looks up
at us, shielding her eyes against the sun.
REVERSE
Rachel sits at a table with Stephan, watching her daughter.
Stephan takes out an ENVELOPE and passes it to her.
She opens it and examines the contents - an AIR-PLANE
TICKET and TWO PASSPORTS.
Stephan takes out a small BLACK CASE and slides it across
the table towards her.
She turns to look at it with disgust, KNOWING WHAT IT IS.
Then she takes it and puts it in her handbag.
STEPHAN
My car's waiting outside. It can
take you to the airport.
Rachel turns back to stare at her daughter.
35 ON THE BEACH 35
Sarah, playing with her son, glances up once more at her
mother on the patio.
36 SARAH'S P.O.V 36
Rachel stands, an elegant woman at breakfast, her dark
glasses, her suit...She raises a hand and waves.
Puzzled, Sarah waves back, then watches as her mother
begins to walk away from her.
37 INT. LOBBY/STREET - DAY 37
PULLING RACHEL
...as she walks from the bright light of the patio into the
relative darkness of the hotel lobby, suitcase in hand,
face set, steely.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 17.
We TRACK with her as she emerges from the shadow of the
hotel back into the bright sunshine of the street and
starts to walk along the sidewalk.
After a moment a CAR purrs alongside. She ignores it for a
moment, keeps on walking, the car cruising beside her.
Finally, almost angrily, she stops and gets in. The YOUNG
AGENT sits in the back seat next to her. The car pulls
smoothly away.
38 EXT. TEL AVIV AIRPORT - DAY 38
Rachel climbs from the car and walks towards the building,
pulling her wheeled suitcase.
The young agent has climbed out and moves swiftly ahead of
her, waiting as she passes into the departure building.
39 INT. AIRPORT PASSPORT CONTROL - DAY 39
Rachel looks down at her passport. We see her PHOTOGRAPH
and name - RACHEL SINGER. She hardly reacts as the agent
ushers her to the front of the queue.
An Officer takes her passport, and as he checks it, we
see...
40 INT. CHECK-POINT CONTROL BOOTH. EAST BERLIN - DAY - THE 40
PAST
...the passport again. We're now looking at the black and
white image of YOUNG RACHEL. The name beneath it is ELSA
ROGET.
The passport is slid back across the counter and we find
ourselves in...
41 EXT. CHECK-POINT. EAST BERLIN - DAY 41
Rachel takes her passport back from the BORDER GUARD and
walks forward, past the barrier into EAST GERMANY.
RACHEL'S P.O.V
A CROWD of people are waiting beyond the check-point for
their loved ones. They're all looking eagerly at us. Only
one YOUNG MAN has his back to us, turning away to light a
cigarette.
Then he turns - Young David - a fine, sensitive face,
darkly shadowed eyes. This is the SHOT we saw earlier. A
moment when we see how anxious he is to play his part
right. Then he smiles his beautiful smile...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 18.
Supered TITLES read "East Berlin, 1965."
Rachel walks up to him and after a fractional hesitation
they embrace.
DAVID
(In German)
How was your trip?
RACHEL
(German)
Fine. Everyone sends their love.
DAVID
You've cut your hair.
HIGH ANGLE
David takes her suitcase, and they begin to walk away, hand
in hand, along the BERLIN WALL.
Finally...
DAVID
I'm David.
Rachel nods, embarrassed.
RACHEL
Rachel.
42 EXT. ANOTHER STREET - DAY 42
They have turned into another, quieter street.
David lets go of her hand, and they walk on.
43 EXT. COURTYARD/BALCONY. APARTMENT BUILDING - DAY 43
A figure leans over the railing on the crumbling balcony at
the top of the building, smoking a cigarette, watching.
This is YOUNG STEPHAN.
HIGH SHOT - POV
David and Rachel are coming through the iron gate into the
run-down looking courtyard.
A MIDDLE-AGED WOMAN - the building's only other occupant -
watches the couple as the pass, David murmuring a greeting.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 19.
44 INT/EXT. STAIRWELL - DAY 44
A brief glimpse of the couple climbing the winding stairs -
a view we have seen before.
45 INT. EAST BERLIN - SAFE HOUSE. DAY 45
The place looks like a squat.
YOUNG Stephan sits playing idly at a battered old upright
piano, a cigarette in his mouth. He looks up as David and
Rachel walk in and stand framed in the doorway, looking
every inch the young married couple. Stephan looks at them
for a beat, then starts to play the first few bars of
Mendelssohn's wedding march.
The other two blush furiously, not amused. Rachel takes her
case from David.
RACHEL
Where do I sleep?
STEPHAN
You're in my room.
He waits just long enough to enjoy her reaction.
STEPHAN (CONT'D)
I'm moving in with him. (Beat)
You're at the end there.
She nods and walks off.
46 INT. KITCHEN - LATER 46
Stephan is smoking. David sits at the table. He is using a
file to create a notch at the bottom of a thin strip of
sprung steel.
Both men can hear the BATH RUNNING in the bathroom, both
very aware of this new female presence in the house they've
been sharing together for the last month.
STEPHAN
What do you think of your new
wife?
David frowns at the steel strip, seeming preoccupied.
DAVID
Too young.
Stephan watches him, amused.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 20.
STEPHAN
Pretty.
David shrugs.
STEPHAN (CONT'D)
You didn't notice.
He begins to sort his possessions out.
STEPHAN (CONT'D)
You know what I've noticed? You
don't notice women. I've noticed
that. How long have I known you?
DAVID
(examining the steel)
I don't know.
STEPHAN
Two years. All the places we've
been to. You don't look at women.
Before I get into that bed, is
there anything you have to tell
me?
David sighs, blows on the steel strip and holds it up for
Stephan to examine.
We hear the bathroom door open and there is a quick glimpse
of Rachel wrapped in a towel as she slips past the door
heading for her room. The two men watch her pass. Stephan
turns and catches David's expression.
STEPHAN
Well, well...I think he just
noticed.
CUT TO:
47 INT. SAFE HOUSE - RACHEL'S ROOM - NIGHT 47
Rachel sits on her bed drying her hair. She stops,
listening to the indistinct murmur of the men's voices from
the room next door. Rachel leans towards the wall, trying
to hear more but the voices fall silent.
48 INT. SAFEHOUSE - MORNING 48
David, holding a kitchen knife, MOVES TO STAB Stephan.
Stephan uses a krav magah move to disarm him. The knife
clatters to the floor as he twists David's arm behind his
back.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 21.
There's an element of showing off and Stephan uses a
little more force than is necessary. David winces but
doesn't say anything.
Stephan turns to Rachel who has been watching.
STEPHAN
Yes?
Rachel nods and they change places. David picks up the
knife and repeats the "attack" move on her. She disarms him
easily.
STEPHAN (CONT'D)
Now an attack from behind.
David takes his position, grabbing Rachel from behind, but
he's so awkward with her the attack seems a little
tentative.
Stephan talks as Rachel practises breaking free from the
hold.
STEPHAN (CONT'D)
Where have you come from?
RACHEL
Argentina.
STEPHAN
Really? Whereabouts?
RACHEL
Cordoba.
STEPHAN
What were you doing there?
RACHEL
My husband is an Industrial
Chemist.
Stephan glances at David, amused.
STEPHAN
He does look like a chemist.
David grabs Rachel again, once more holding back a little.
STEPHAN (CONT'D)
She's not going to fucking break,
David. Move.
He takes David's place.
STEPHAN (CONT'D)
What were you doing before this?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 22.
RACHEL
Before Argentina we lived in
Hungary where my husband
studied...
Stephan is smiling. She realizes he's talking about Mossad.
RACHEL (CONT'D)
Oh...Liaison.
STEPHAN
And what did you do in Liaison?
RACHEL
(Beat)
Translator.
Stephan looks even more amused.
STEPHAN
So, first time in the field.
Rachel feels herself blush a little angrily. Stephan grabs
her from behind and Rachel executes a perfect break,
twisting Stephen's arm. Stephan winces, surprised.
STEPHAN (CONT'D)
Good. That's...good.
David gives the slightest of smiles.
DAVID
Welcome to Metsada.
49 OMITTED 49
50 INT. BERLIN SAFE HOUSE - RACHEL'S BEDROOM. NIGHT. 50
Rachel lies in bed, restlessly playing with a locket around
her neck.
Giving up on trying to sleep, Rachel rises from the bed,
throws on a robe and pads out of the room...
51 INT. BERLIN SAFE HOUSE - LIVING ROOM. CONTINUOUS. 51
...and into the living room. She sits down at the table,
stares at a FILE before her. She hesitates then opens it,
forces herself to look at the terrible PHOTOGRAPHS inside -
a pile of severed legs, bodies covered in mustard gas
wounds, phosphorus burns, a naked woman, barely a skeleton,
held up by two Nazi nurses, a row of DEAD BABIES, rulers
laid beside them to indicate dimensions...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 23.
Rachel stares at this last image, overwhelmed.
52 HALLWAY 52
David stands watching her through the half open door. He
makes a small move - perhaps to go to her - then stops
himself and slips back into the darkness.
53 EXT. STREET - MORNING 53
A tram trundles down the wide Berlin street.
Rachel and David are walking to Vogel's surgery, holding
hands. She's pale, very frightened. David walks, trying,
and failing, to think of anything to say to her.
He suddenly notices an odd sound. It's Rachel, humming
tunelessly to herself, very low. Something about this
pierces him. He gives her hand a squeeze.
54 EXT. CLINIC - DAY 54
The two stand in the doorway, at the foot of the stairs
leading into the clinic, their husband and wife routine.
DAVID
(In German)
I'll be waiting for you.
She nods, trying to smile.
RACHEL
(her throat is tight)
I won't...be long.
They kiss. She turns to go, looking so young and lost...
David hesitates, staring after her, then walks quickly
away. Rachel walks up the steps towards the entrance.
55 INT. WAITING ROOM. DAY. 55
A large NOTICE BOARD covered with photographs of grateful
smiling MOTHERS holding their NEWBORN BABIES - row upon row
of new life.
Rachel sits staring at the board. She turns her attention
to the frosted glass door to the doctor's surgery.
Indistinct shadows move on the other side.
She turns to look at the other two women sitting looking
through magazines, then back to the door. A shadow darkens
as it approaches the glass, then the door opens and a NURSE
leans out.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 24.
(All dialogue at the clinic is in German, subtitled.)
NURSE
Frau Roget?
With a smile, the Nurse gestures for Rachel to enter.
56 INT. EXAMINATION ROOM. DAY. 56
Rachel stands behind a SCREEN, trying to control her
nerves. All we can hear is the sound of RUNNING WATER and
Rachel's tense breathing. Finally she takes off her skirt
and unbuttons her blouse with trembling fingers. She puts
on the gown, and slips out of her underpants, stumbling as
she steps out of them.
We TRACK with her as she walks out from behind the screen
into the large brightly lit room. She walks towards the
GYNAECOLOGICAL CHAIR at the centre of the room. On the far
wall, behind a screen, someone stands washing their hands
at a basin.
As she walks, Rachel passes a tray of MEDICAL INSTRUMENTS,
her glance lingering on it.
She reaches the chair and climbs onto it. A pause and then,
tentatively, she lifts her feet into the stirrups, tugging
the gown to cover herself as best she can.
She tries to steady her breathing, focussing on the
ceiling. A bright LIGHT shines down on her.
We hear footsteps approach.
Rachel closes her eyes.
VOGEL
Good morning, Frau Roget. I'm
Doctor Bernhardt.
Rachel opens her eyes. Vogel is sitting on a small stool,
taking a speculum from the tray of instruments, his back to
us.
RACHEL
Good morning, doctor.
He turns and smiles at us - and he has a wonderful, warm
smile, the air of a gruff but kindly Uncle.
VOGEL
Alright now, just relax. We're
going to do a little examination.
If you feel at all uncomfortable,
you just say. Alright?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 25.
She manages to nod.
VOGEL (CONT'D)
Alright, this is my hand... and
this is the speculum. It's going
to feel cold.
Rachel reacts as Vogel pushes the speculum into place,
opens it and begins the examination. She stares up into the
light.
VOGEL (CONT'D)
Can I ask how old you are?
RACHEL
Twenty five.
VOGEL
And how long have you and your
husband been trying for a baby?
RACHEL
Nearly two years.
VOGEL
Uhuh. Well, the ovaries look
fine. Alright, let's see... your
cervix is slightly retroverted.
Tilted backwards?
Rachel raises her hand to her LOCKET NECKLACE and begins to
fiddle with it.
RACHEL
Really?
The angle from which we next see VOGEL, and the way the
image of his face freezes in black and white, tells us
clearly that this locket conceals a CAMERA DEVICE.
VOGEL
Mmm. But that generally shouldn't
affect fertility.
RACHEL
Oh, good.
VOGEL
You have a slight accent, Frau
Roget. Where are you from?
RACHEL
Argentina. We just moved here...
A few months ago.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 26.
VOGEL
Whereabouts in Argentina? Buenos
Aires?
He looks up at her and Rachel instinctively moves her hand
away from the locket. She finds herself nodding.
Vogel looks away again. Rachel bites down on a wave of
panic.
VOGEL (CONT'D)
Oh, Buenos Aires. Beautiful. I
went once, when I was young. We
went to the Opera house I
remember. What's it called again?
Rachel stares at the light. Beat.
RACHEL
Teatro Colon.
He turns back to her, holding a swab, the warm smile.
VOGEL
That's right. Beautiful. This
might sting a little, dear.
Rachel winces.
VOGEL (CONT'D)
I'm sorry. Now, there's a couple
of tests we need to run, make
sure there are no problems. Is
that alright?
Rachel nods. He pats her hand.
VOGEL (CONT'D)
Brave girl.
57 EXT. CLINIC - DAY 57
Rachel walks out and finds David waiting, smoking. He takes
her hand and they walk off without speaking.
58 EXT. QUIET STREET - DAY 58
The two turn the corner, out of sight of the clinic. David
glances at her. She looks pale, shaken. He feels a wave of
sudden tenderness for her, opens his mouth to say something
then catches himself.
CLOSE on their hands. After a moment David LETS GO. They
walk on.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 27.
59 INT. BAR - DAY 59
Stephan sits at a table. Rachel and David appear beside him
and join him. There is an awkward silence for a moment.
Stephan sips his coffee.
STEPHAN
(in German)
So. Everything...?
RACHEL
(in German, abruptly)
Next appointment is on Wednesday.
She looks at David but he is staring at the table. Like
Stephan he is uncomfortable with the thought of what Rachel
has been through.
She takes his hand. He looks up, surprised, searches her
face...
But then Rachel lets go and walks off towards the toilets.
David looks down at the SILVER LOCKET lying in his palm.
60 EXT. STREET - DAY 60
Stephan walks down the street. A SMARTLY DRESSED MAN walks
towards him, absently jingling his CAR KEYS in his hand.
As he nears Stephan, the man fumbles the keys and they
drop. Stephan dips down to pick them up and hands them back
to the man with a smile.
SMARTLY DRESSED MAN
Vielen dank!
STEPHAN
Bitte sehr.
The two continue on their way, and we follow the smartly
dressed man, closing in on his hand, in which he now holds
his keys AND THE LOCKET.
We see him tuck it into his jacket pocket as he walks on.
61 EXT. RAILWAY STATION - FOOTBRIDGE - EARLY EVENING 61
The FOOTBRIDGE which crosses over a closed RAILWAY STATION
below. On either side of the bridge runs a barbed wire
topped FENCE. A few PEDESTRIANS cross the bridge in the
early evening gloom, intent on getting home.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 28.
David and Stephan appear, walking over the bridge towards
us. David's eyes flick to the tracks ahead and below as a
TRAIN begins to thunder by.
Stephan begins to COUNT softly to himself as the train runs
below his feet.
STEPHAN
One, two, three, four, five,
six...
DAVID (O.S.)
It's a ghost station...
62 INT. KITCHEN. SAFE-HOUSE - EVENING 62
A hand-drawn plan of a RAILWAY STATION is on the table.
David indicates the tracks on the plan.
DAVID
West Berlin trains pass through
East Berlin on this track, but
don't stop.
STEPHAN
Usually.
He raises a lighter to the cigarette in his mouth.
MATCH CUT TO:
63 EXT. RAILWAY BRIDGE - EVENING 63
As the train disappears into the gloom and Stephan slows to
light his cigarette. Beside him David's eyes flick to the
STATION PLATFORM in between the tracks below, eerily lit in
the gathering dusk.
DAVID'S P.O.V - several BORDER GUARDS patrol the abandoned
platform.
DAVID (V.O.)
The station's guarded at all
times...
We're TRACKING PAST the entrance to stairs leading down
from the bridge onto the platform below. We see it's been
sealed off with a locked gate. Another BORDER GUARD stands
on the stairs below, staring up at us as we pass...
64 INT. KITCHEN. SAFEHOUSE - EVENING 64
AT KITCHEN TABLE
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 29.
David indicates the point on the plan.
DAVID
...and the stairs to the platform
are sealed off.
65 EXT. RAILWAY BRIDGE - EVENING 65
The two men have walked on past the mid-point of the
bridge. David glances at the far track.
DAVID'S P.O.V - the track runs along the far side of the
platform. On the other side of the track is a barbed-wire
topped WIRE FENCE.
DAVID (V.O.)
Our train driver makes an
unscheduled stop on the near
track.
STEPHAN (V.O.)
The last two carriages will be
around...
66 INT. KITCHEN SAFEHOUSE - EVENING 66
Stephan indicates a point on the track.
STEPHAN
...here. And they will be empty.
Once that train has stopped, the
guards won't be able to see this
fence. And on the other side of
the fence is...
67 EXT. THE RAILWAY BRIDGE - EVENING 67
The two men are at the top of the stairs on the other side
of the bridge now. Stephan glances to his right...
STEPHEN'S P.O.V - TRACKING as we descend the stairs. We can
see that on the other side of that high wire fence is a CAR
PARK and a long, low building...
STEPHAN (V.O.)
...a postal depot.
We see that car park is lined with the yellow VANS of
Deutsche Post. Several FEMALE POSTAL WORKERS in dark skirts
and white blouses stand around the car park on their
breaks, smoking and chatting. As we watch one of the vans
trundles out of the OPEN FACTORY GATE.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 30.
STEPHAN (V.O.)
The vans come and go all day
long.
68 INT. KITCHEN. SAFEHOUSE - EVENING 68
David rolls up the plan.
DAVID
We're just one more parcel. Once
we're in West Berlin there'll be
transport to Templehof airbase
and a private charter.
Stephan stubs out his cigarette.
STEPHAN
That's the wrapping. Now all we
need is the present.
Rachel realises both men are looking at her.
69 OMITTED 69
70 OMITTED 70
71 OMITTED 71
72 OMITTED 72
73 INT. LIVING ROOM. BERLIN SAFE HOUSE - EVENING 73
Rachel runs the hem of a partially-made WHITE GARMENT
through a SEWING MACHINE. She finishes and takes it over to
where Stephan stands waiting. It's unfinished, but a fairly
good approximation of a MEDIC'S WHITE COAT.
RACHEL
Try this on.
Stephan puts it on. She tugs at the coat, straightens the
unfinished collar, runs her hands down the front to smooth
it out.
RACHEL (CONT'D)
(re: the coat)
How does it feel?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 31.
STEPHAN
(Flirting)
Nice.
Rachel ignores this, begins to pin the cuff of one of the
sleeves.
STEPHAN (CONT'D)
Here you are, Mossad agent, all
those years of training, the
highest levels of marksmanship
and krav magah, first big
mission...sewing.
Rachel resists a smile, brandishes the pin.
RACHEL
Black belt in dressmaking.
He holds up his hands in surrender.
STEPHAN
I never argue with an armed
woman.
74 INT. KITCHEN. SAFEHOUSE - LATER 74
Rachel and Stephan sit as David serves the dinner. Rachel
examines her dish.
RACHEL
(Politely)
What is it?
DAVID
(Beat)
It doesn't have a name.
Stephan tastes his.
STEPHAN
(Grimacing)
Shit.
David lifts his spoon, blows on it.
DAVID
(Solemn)
Now it does.
They laugh a little, settle into eating.
David stares at his bowl, deciding whether or not to say
something. Finally...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 32.
DAVID (CONT'D)
It's my birthday.
They look up at him in surprise.
75 INT. BAR - LATER 75
Tinny music plays.
The place is almost empty. In the back of the bar the three
sit in a corner drinking beer - just young people,
laughing, a little drunk. They could be students.
Rachel is reciting something from memory.
RACHEL
Uh, at ten - study the Mishnah,
at fifteen - study the Talmud. By
eighteen - stand under the
wedding canopy...
STEPHAN
We're too late for all of those.
They laugh.
RACHEL
Uh...twenty. In your twenties you
are to "pursue your life's
goals."
STEPHAN
(Flirtatious)
What are you pursuing Rachel?
Rachel thinks about it, shrugs.
RACHEL
I don't know. I'm waiting to find
out.
STEPHAN
(smiles to himself)
Youth...
RACHEL
What about you, grandfather? Have
you got a goal?
STEPHAN
(Smiling)
Oh yes. We believe in goals in my
family. We're very driven men.
My father was Director of
Collections by the time he was
fifty.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 33.
RACHEL
So what's your goal?
STEPHAN
Director of Collections by forty.
They laugh.
RACHEL
(To David)
What about you David. What "life
goal" are you pursuing?
David smiles, stares at his drink.
DAVID
This is it.
Rachel laughs, looks around at their less than glamorous
surroundings.
RACHEL
This is it? This is all you want?
David laughs. He would obviously rather change the subject
but Rachel is a little drunk, a little curious.
RACHEL
Seriously, what do you want out
of life?
DAVID
(Beat, shrugs)
I want this. I want to get Vogel.
I want him to be put on trial and
I want the world to watch so
everyone knows what he did. I
want them all to know the truth.
He looks up at their faces, embarrassed at having darkened
the atmosphere.
DAVID
And...I want another drink.
He gets up and walks off to the bar. Rachel stares after
him. Stephan watches her.
STEPHAN
Forget about it.
RACHEL
Forget about what?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 34.
STEPHAN
I've spent two years with him,
and I don't know him. Nobody
knows him. He's alone.
Rachel thinks this over.
RACHEL
What about family?
Stephan stares at her. She realises what this means.
RACHEL (CONT'D)
All of them?
STEPHAN (O.S.)
All of them.
He looks over at David standing at the bar.
STEPHAN (CONT'D)
Maybe it's not always a blessing
to survive.
76 EXT. STREET/PARK - DAY 76
A tram passes, revealing Stephan walking across the
scrubby, desolate park, jingling car keys in his hand.
Suddenly he drops them. He's about to pick them up when a
man dips down and hands them back to him.
We recognize the moment.
STEPHAN
Vielen dank!
SMARTLY DRESSED MAN
Bitte sehr.
Stephan walks on. In his hand he is now holding a small
METAL TUBE.
76A INT. EXAMINATION ROOM. CLINIC - DAY. 76A
From Rachel's POV we are watching Vogel as he prepares his
instruments.
She has come for her second examination.
VOGEL
This is my hand. This is the
speculum.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 35.
Rachel flinches as she feels the speculum.
VOGEL (CONT'D)
How did you find me?
RACHEL
(beat)
What?
VOGEL
Who told you about me?
RACHEL
Who... told us?
VOGEL
Were you referred by a doctor,
or...?
RACHEL
(trying to conceal her
relief)
Oh, Doctor Eisenberg.
VOGEL
Ah-ha. How is the old Jew?
RACHEL
Very good.
Vogel busies himself for a moment.
VOGEL
Any history of infertility in
your family Frau Roget?
RACHEL
No.
VOGEL
Are your periods irregular?
Rachel stares up at the light.
RACHEL
Yes.
VOGEL
Yes. I think we've found the
problem.
Rachel stares at him - she didn't know there was a problem.
VOGEL (CONT'D)
It's very common. Your ovarian
follicles...well, inside you're
still immature.
(MORE)
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 36.
VOGEL (CONT'D)
We need to help you with this.
There's something we can use, a
little injection. Do you want to
proceed?
Rachel nods, dumbly. Vogel nods, turns back to his tray of
instruments, begins preparing an injection.
Vogel turns back to her with the HYPODERMIC NEEDLE.
Instinctively Rachel stiffens. He injects her.
VOGEL (CONT'D)
(As he works)
How many brothers and sisters do
you have?
RACHEL
(Stiff)
None.
VOGEL
An only child?
Rachel nods. Vogel smiles, not unkindly.
VOGEL (CONT'D)
And yet you say there's no family
history of fertility problems?
RACHEL
(Beat)
I lost my mother in the war.
Vogel stares at her. Then, to her dismay, he TAKES HER
HAND, and pats it with such a sad, sympathetic look, that
she feels her eyes prick with tears. Then he lets go and
turns back to the examination.
76B EXT. CLINIC - DAY 76B
Rachel comes out to find David waiting for her again. Once
more he takes her hand and they walk off.
76C EXT. QUIET STREET - DAY 76C
As they turn into the quiet street, David lets go of her
hand. Rachel stops. She looks shaken. David watches her.
DAVID
Are you alright?
She nods.
Suddenly Rachel takes his hand again. David stares straight
ahead but he DOESN'T PULL FREE and they walk on like that.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 37.
77 OMITTED 77
78 INT. SAFE HOUSE - LIVING ROOM - EVENING 78
Rachel and David walk into the room and find Stephan
waiting for them.
STEPHAN
Identity is confirmed. We have a
green light.
Rachel and David stare at him.
78A EXT. ANOTHER STREET - DAY 78A
We are looking at a yellow DEUTSCHE POST van.
Stephan and David are walking towards it.
Stephan stops by the van, shielding David as he drops the
length of thin steel we saw him working on earlier, from
his sleeve - an improvised SLIM JIM. With professional ease
he slips the Jim between the window and the weather shield.
In seconds he has the door open and the two climb in...
79 INT. KITCHEN. SAFE HOUSE - NIGHT 79
Rachel comes out of the bathroom in her nightclothes, with
her hair wet around her. She looks into the kitchen. David
is sitting smoking. Rachel pauses in the doorway and then
walks in. A small two bar electric fire provides the only
light in the room. Rachel kneels down in front of it to dry
her hair.
David looks at her as Rachel spreads her hair around her
shoulders. She looks very beautiful. She starts to comb her
hair. On impulse, Rachel HOLDS OUT the comb to David.
David takes it. He starts to comb, pulling it slowly
through her hair. Then stops. The atmosphere is suddenly
charged.
DAVID
It's a brave thing you're doing.
RACHEL
I'm not brave. I'm terrified.
DAVID
But you're doing it anyway.
Because you know how important it
is.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 38.
Another stroke and then he stops again, stares at the comb
in his hand.
DAVID
You're very brave.
RACHEL
(Beat)
David...
Rachel turns round and stares at him, overcome with
longing. She leans in to KISS HIM. For a moment David
hesitates, but then it's as if something inside him closes
and he pulls back from Rachel, his face cold.
Without a word he gets up and walks out. Rachel sits,
crushed...
80 INT. LIVING ROOM. BERLIN SAFE HOUSE - LATER. 80
Rachel, sits at the piano in her robe, picking out notes.
She's been crying. Stephan stands watching her from the
doorway, holding a drink - something slightly predatory
about him.
He crosses to her, sits down beside her and starts to match
her notes. They work out a nonsense tune between them.
81 INT KITCHEN - CONTINUOUS 81
David listens as they play.
82 INT. LIVING ROOM - CONTINUOUS 82
Rachel picks up Stephen's drink and takes a sip.
STEPHAN
It's whiskey.
Defiantly Rachel drains the glass, grimaces a little.
Stephan watches her. He continues to play, moving the
melody up in octaves until his hand is beside hers, then
covering hers. Rachel brushes him away. He puts his hand
back and starts to caress her wrist.
STEPHAN (CONT'D)
You're so beautiful...
He begins to kiss her neck. Rachel stares ahead, pretending
it isn't happening. Then she gives in, turning to him.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 39.
83 INT. RACHEL'S BEDROOM - MORNING 83
Rachel stands at the mirror, dressing in a DARK SKIRT and
WHITE BLOUSE, trying to control all the emotions she is
feeling.
Behind her Stephan lies in the bed watching her. Neither
speaks.
84 EXT. COURTYARD/STREET - LATE AFTERNOON 84
Rachel and David cross the courtyard to the gate. David
holds it open for Rachel.
As they turn into the street, David takes her hand. Both
stare fixedly ahead, only too aware of what happened the
night before.
85 OMITTED 85
86 INT. EXAMINATION ROOM. LATER 86
Rachel is in the chair for what she knows will - whatever
happens - be the last time.
VOGEL
Alright, this is my hand. And
this is the speculum.
RACHEL
Okay.
Vogel begins the exam. From beneath her GOWN Rachel slips a
HYPODERMIC NEEDLE.
VOGEL
You had intercourse last night?
RACHEL
(Tight)
Yes.
VOGEL
Good. You're at the most fertile
stage of your cycle. This is very
good timing.
He turns to his tray of implements.
VOGEL (CONT'D)
I think we are going to see
results.
(MORE)
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 40.
VOGEL (CONT'D)
All you have to do is have faith.
Ask any of my patients.
RACHEL
What about your patients in
Birkenau...?
Vogel looks up in shock.
Rachel grabs a fistful of his hair and pulls his head to
one side. With her other hand she jams the needle into the
side of his neck, and begins to depress the syringe.
Vogel gives a grunt of surprise, opens his mouth to speak
but no sound comes. He grabs vaguely for Rachel's throat
with one hand, struggles with the needle with his other,
eyes dull with fury, fighting the drug racing through him.
Rachel fights to hold him, bucking on the chair, pinned
beneath his weight, struggling for breath...
Weakening, VOGEL manages to pull the needle free and it
drops to the floor...
INSERT OF SYRINGE
...which we see still contains some FLUID.
A rope of spittle drools from Vogel's contorted mouth onto
her face. Then his eyelids flutter and close and he
collapses onto her.
Rachel pulls his hand from her throat, gasps for air.
Finally she pushes him to the ground. She leaps up and
deliberately knocks the tray of medical instruments to the
floor.
RACHEL (CONT'D)
Help!
The Nurse runs in, reacts at the sight of the prone VOGEL.
RACHEL (CONT'D)
He collapsed!
NURSE
My God! What happened?!
RACHEL
(overlapping)
I don't know! I don't know! He
just clutched his chest and
collapsed!
The Nurse grabs for the phone and dials.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 41.
NURSE
(into the phone)
I need an ambulance! Karl-Gustav-
Strasse. The clinic. My husband
has had a heart attack.
Rachel reacts to this revelation.
EMERGENCY OPERATOR (O.S.)
(Over phone)
Your name please?
NURSE
It's Frau Bernhardt, please,
please hurry!
87 EXT. REAR OF CLINIC - CONTINUOUS 87
Stephan kneels in a recess of the building, by the open
NETWORK JUNCTION BOX of the clinic. He's wearing
HEADPHONES, alligator-clipped to two cables in the box.
EMERGENCY OPERATOR (O.S.)
(Over phones)
The ambulance is already on the
way, madam.
Stephan un-clips the phones and pockets them. He
straightens up, closes the junction box and walks calmly
away, through a gate in the wall, into the next courtyard.
HIGH SHOT
As Stephan races up some steps, along a balcony, and into
the building...
88 INT/EXT. APARTMENT BUILDING - CONTINUOUS 88
TRACKING
with Stephan through the hallway, out of the door and onto
the street....
89 EXT. AMBULANCE DISPATCH - CONTINUOUS 89
An AMBULANCE, sirens wailing, starts out of the dispatch,
and swings onto the street.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 42.
90 EXT. STREET OUTSIDE CLINIC - CONTINUOUS 90
Stephan rounds the corner of the street and walks TOWARDS
THE CLINIC. He checks his watch as he turns into an alley
opposite the entrance.
91 INT. EXAMINATION ROOM. LATE AFTERNOON 91
Rachel finishing dressing, looks anxiously at the nurse as
she crouches by her unconscious husband, monitoring his
breathing.
92 EXT. STREET - CONTINUOUS 92
The AMBULANCE speeds on.
93 EXT. STREET NEAR CLINIC - CONTINUOUS 93
Stephan pulls back some rusty doors.
Parked in the small courtyard beyond is the van we saw
before, now decorated with AMBULANCE DECALS and LIGHTS.
David drives the car forward as Stephan climbs into the
passenger side...
94 INT. EXAMINATION ROOM. LATE AFTERNOON 94
Rachel paces outside the door, looking down the corridor.
The nurse wipes away a tear, tense and frightened.
NURSE
(to no one in
particular)
Oh god! Come on, come on! Hurry!
95 OMITTED 95
96 INT. THE CLINIC - CONTINUOUS 96
A SIREN approaches and Rachel moves to the door...
RACHEL
They're here. Stay with him. I'll
go and get them...
The nurse nods gratefully.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 43.
97 EXT. CLINIC - CONTINUOUS 97
...a vehicle pulling up. Whether it's the real ambulance or
the fake one, we're not sure.
98 INT. LOBBY. CLINIC - CONTINUOUS. 98
Rachel runs past the concerned patients in the waiting area
to see... David and Stephan, coming up the stairs, holding
a stretcher.
99 INT. EXAMINATION ROOM. MOMENTS LATER 99
Rachel leads them in. Stephan crouches down beside Vogel
and takes his pulse.
STEPHAN
We need to take him to the
hospital.
He and David open up the stretcher and transfer Vogel to it
with some efficiency.
NURSE
Oh God!
STEPHAN
He's going to be alright.
Rachel and the nurse follow David and Stephan as they carry
the stretcher out through the waiting room.
100 INT. LOBBY. CLINIC - CONTINUOUS 100
We hear the siren of the real ambulance starting up not-so-
very-far-away down the street as David and Stephan push the
stretcher towards the doors.
The nurse follows, but David stops her.
DAVID
I'm sorry, Madam, but you'll need
to meet us at the hospital.
NURSE
But... I want to travel with him.
DAVID
Not possible I'm afraid. New
regulations.
We begin to register that the siren is growing louder with
every second.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 44.
As Stephan and David carry the stretcher down the stairs,
Rachel takes the nurse's hand to detain her.
RACHEL
Don't worry, he's in good hands
now. He's going to be fine.
NURSE
Thank you...thank you.
RACHEL
You should get your things, go to
the hospital to meet him.
The Nurse nods tearfully, starts to back towards her
office, watching as they disappear.
101 EXT. CLINIC - LATE AFTERNOON. 101
David closes the rear door of the van and the two jump in
and drive off as Rachel comes out of the building.
She begins to walk briskly away. Behind her, the real
ambulance is pulling up at the clinic. She doesn't turn
back.
102 EXT. COURTYARD/STREET NEAR CLINIC - LATE AFTERNOON 102
The DEUTSCHE POST VAN that David and Stephan stole earlier
pulls out into the street. Behind it we catch a glimpse of
the now abandoned ambulance. David quickly closes the gate
and climbs in.
103 EXT. STREET NEAR CLINIC - MOMENTS LATER 103
Stephan draws up alongside Rachel and she climbs in as the
door is opened for her.
104 INT. BACK OF VAN - MOMENTS LATER 104
The winter evening is gathering outside. David and Rachel
are in the back of the van. David has taken off the white
coat. David checks his watch.
STEPHAN
(Tense)
I know, I know.
He accelerates.
Rachel grabs hold of the back of the seat to avoid falling.
She looks down at the stretcher - Vogel lies unconscious.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 45.
One of his hands jolts free and drops onto her foot.
Gingerly she steps free.
105 EXT. DEUTSCHE POST DEPOT - NIGHT 105
HIGH ANGLE
The depot car park is dark - rows of postal vans parked up.
An eerie silence.
Through the high fence behind the vans we can make out the
tracks and dimly lit STATION PLATFORM beyond - GUARDS
patrolling in the little pools of light.
As we watch a POSTAL WORKER comes out of the depot and
walks through the carpark and out of the gate, his shift
finished.
106 INSIDE THE VAN 106
P.O.V - THROUGH VAN WINDSCREEN
We're watching the WORKER walk in front of us and leave the
car park.
In the dark of the back of the van, Rachel crouches,
watching him leave. She turns back to where Stephan and
David wait by the van doors, bolt cutters in their hands.
On the floor of the van lies Vogel's unconscious form.
They wait in absolute silence, listening to the fading
footsteps of the worker.
David checks his watch, holds up a single finger to
Stephan. Moments later we hear the sound of an approaching
TRAIN.
Stephan raises a hand and counts them down - five, four,
three, two, one...
The two men open the van doors and run at a crouch to the
base of the foot-bridge stanchion, as the train roars from
the darkness and begins to pass them, screening the two men
from the GUARDS ON THE PLATFORM.
Rachel closes the rear door behind them and runs along the
line of the fence to the other end of the yard and crouches
down by a junction box, screened from the platform,
standing watch.
She looks over to Stephen and David in the shadows of the
bridge stanchion.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 46.
Again silence falls. Then faintly we hear another engine
approach. Moments later another train begins to roar past.
Instantly the two men rise from the shadows and begin to
CUT through the wire fence, working with fierce
concentration.
STEPHAN
(Softly)
One, two, three, four, five,
six...
107 AT THE JUNCTION BOX 107
Rachel checks the car park behind for workers.
108 AT THE FENCE 108
The train is almost past. The two men work feverishly,
snipping through the remaining links, working their way
towards each other - forming a four foot long split in the
fence. They sprint for the stanchion again...
STEPHAN
(As he runs)
Twenty, twenty one, twenty two...
As they dive for cover the last carriages of the train
pass.
A guard on the platform glances over but sees nothing but
darkness and the vague outline of the postal vans beyond
the fence. He continues walking down the platform.
109 AT THE VAN 109
Rachel holds her breath, but nothing disturbs the new
silence.
Along the fence she can just make out the two men crouched
in the shadows. Stephan raises his hand in an OK,
signalling they're ready.
Rachel suddenly hears FOOTSTEPS echoing in the car park.
Through the window of a van, she can see a POSTAL WORKER
emerging from the depot and crossing the car park.
As she watches he takes out a cigarette, starts to light it
but then stops. He is staring over at the footbridge, as if
he can faintly make out those dark shapes at the base...
He takes a few steps forward, puzzled. A little closer and
he might really see something...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 47.
Rachel looks to the PLATFORM - the two guards visible there
are talking to each other, looking the other way.
She takes her chance - moves up behind the parked vans...
ON THE WORKER
..as he takes a few steps closer to where Stephan and David
are crouched...
RACHEL (O.S.)
(calling)
Do you have a light?
The man turns and takes in this pretty postal worker, who
has emerged BEHIND HIM.
He smiles and walks back towards her.
He lights her cigarette, studies her face.
WORKER
You new?
RACHEL
First shift. The girls said it
was okay to come out for a
smoke....
110 AT THE FENCE 110
David and Stephan lie listening to the murmured
conversation.
WORKER
Yeah, it's okay. Are you working
until midnight?
RACHEL
Yes.
WORKER
After the late shift most of us
go to the Vetter. Do you know it?
David checks his watch again, nods at Stephan. We hear
another APPROACHING TRAIN.
111 ON RACHEL 111
...smiling, pretending to be listening to the Worker.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 48.
WORKER
...it's just on the corner. You
should come along.
She glances through the fence and down the track to where
the train's LIGHT can be seen approaching in the gloom.
This is it.
111A INSIDE THE VAN 111A
The inert body of Vogel, lying on the floor. His hands,
bound at the wrist, suddenly twitch involuntarily.
112 IN THE TRAIN - DRIVER'S CAB - CONTINUOUS 112
POV - the Border Guards on the platform.
The driver begins to BRAKE.
113 ON THE PLATFORM 113
The Border Guards watch in surprise as the train slows...
114 AT THE FENCE 114
As it passes them, the train screens Stephan and David from
the platform. The two men rise and swiftly begin to cut the
remaining section of fence.
As the train comes to a halt the last carriages stop
directly opposite them, empty and dark.
They're almost there.
114A ON THE PLATFORM 114A
In the distance, at the head of the train, the driver can
be seen stepping down and gesturing to the guards, pointing
up ahead.
DRIVER
There's something on the tracks
up here!
The Guards peer doubtfully into the gloom ahead. One sets
off to investigate.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 49.
115 ON RACHEL 115
...getting rid of the Worker.
RACHEL
Well, maybe I'll see you there? I
finish in half an hour. Why don't
you go and get me a drink ready?
The Worker can't believe his luck.
WORKER
Half an hour then.
He starts to move towards the gate...
Suddenly the VAN HORN BLARES, shattering the silence of the
car park.
115A AT THE FENCE 115A
Stephan and David turn back to the van.
115B ON RACHEL 115B
She turns, shocked. The Worker too turns back in surprise.
116 IN THE VAN 116
Vogel, hands still tied has wormed his way over the seats
and is pressing frantically on the HORN. He claws at the
tape over his mouth, manages to pull it free.
Stephan leaps into the van and is upon him in seconds.
Vogel manages to give a HOARSE YELL, then Stephan uses a
krav magah move to silence him.
117 ON THE PLATFORM 117
The remaining Border Guard is staring over at the darkened
car park, trying to work out what he just heard.
117A ON RACHEL 117A
WORKER
What was that...?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 50.
118 AT THE FENCE 118
David watches in dismay as a Guard comes into view at the
far end of the platform, entering a GUARD HUT. He lifts a
TELEPHONE inside.
DAVID
(Softly)
Fuck.
He heads for the van at a crouching run.
119 OMITTED 119
120 ON RACHEL 120
Rachel indicates the vans closest to them.
RACHEL
I think it came from over here?
WORKER
No, it was one of those...
He steps past her, peering at the shadowy vans ahead.
Rachel stares at him wondering if she can take him down
silently.
BORDER GUARD (O.S.)
Stay where you are!
She turns to see two BORDER GUARDS approaching the side
gate of the car park.
120A ON THE PLATFORM 120A
...as the Border Guard comes back from checking the lines
ahead.
BORDER GUARD
There's nothing there. Get moving
now!
His part of the mission completed, the Driver climbs back
into his cab.
120B ON RACHEL 120B
...as one of the Guards approaches her, pistol drawn. The
second guard fans past, walking slowly towards the bridge.
The first guard SHINES A TORCH into Rachel's face.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 51.
FIRST GUARD
What are you doing here?
RACHEL
I work here. I'm on a break.
FIRST GUARD
Show me your papers, both of you.
The Worker nervously fumbles for his papers, passes them to
the Guard who inspects them.
121 AT THE FENCE 121
David watches Rachel offer her papers to the Guard as the
train starts to rumble back into life.
He moves back towards the van.
AT THE VAN
STEPHAN
(hissing)
We have to go!
David stares over at Rachel.
Stephan grabs Vogel.
STEPHAN
We can make it. Help me with
him...
122 ON RACHEL 122
FIRST GUARD
(Handing them back)
You can go.
The Worker gratefully hurries away. Rachel is watching
tensely as the Second Guard closes on the van...
123 AT THE VAN 123
Stephan watches the train pulling away, THEIR LAST CHANCE.
He has pulled Vogel's body to the door.
STEPHAN
(Hissing)
We're going! Now!
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 52.
David shakes his head.
DAVID
Not without her.
He moves up the blind side of the van...
124 IN FRONT OF THE VAN 124
The Second Guard takes a few more steps and stops in
surprise- the OPENING in the fence VISIBLE NOW.
SECOND GUARD
(Startled)
Hey! Over here!
David appears behind him and downs him, fast.
A Guard on the platform has turned to see the opening in
the fence, and yells out.
125 ON RACHEL 125
As the Guard beside her turns his attention to his comrade,
Rachel grabs the guard's gun hand, sweeping it away from
her, at the same time stepping in close and punching the
guard's throat with her other hand. As he staggers back
choking, she twists the gun free.
126 OMITTED 126
127 ON THE PLATFORM 127
Another guard hits an ALARM.
A SIREN begins to sound...
127A ON RACHEL 127A
About to head back to the van. A shot rings out and a
BULLET suddenly strikes the ground beside her. She looks up
to see a GUARD has appeared up on the bridge, rifle aimed
at her.
Other Guards open FIRE, jumping down onto the tracks and
advancing towards the cut fence.
Acting on instinct, Rachel returns fire with the pistol,
and takes cover behind the wall...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 53.
128 AT THE VAN 128
Stephan has jumped into the driver's seat and starts the
engine. David scrambles into the back, barely making it
before Stephan is peeling out, the back door hanging
open...
128A ON RACHEL 128A
...as more guards appear at the side-gate behind her -
she's caught between them now.
She watches in dismay as the van heads for the exit.
Suddenly it brakes...
IN THE VAN
Stephan throws the gear into reverse..
ON RACHEL
and the van begins to reverse with a scream of tyres
towards Rachel.
The Guards at the side-gate open fire on the van hurtling
towards them, bullets pocking the rear doors.
The side door is flung open and Rachel dives in, just as
Stephan roars forward again.
128B INT. VAN - CONTINUOUS 128B
P.O.V - THROUGH WINDSCREEN
The Guard from the bridge has run down the stairs and is
now between us and the exit. As we watch he raises his
rifle...
STEPHAN
Down!
The three duck as the Guard fires, punching a neat hole in
the windscreen. Seconds later the van thuds into him,
sending him flying.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 54.
128C EXT. VAN - CONTINUOUS 128C
...as it roars out of the depot gates, bullets flying past
it...
129 EXT. ROAD NEAR STATION - NIGHT 129
STEPHAN'S P.O.V
On the road ahead a Border Guard Jeep appears, driving
directly towards them.
Stephan has no choice - he floors it.
At the last second the jeep tries to pull right but the van
catches its rear side and barrels straight through, the
jeep spinning off and smashing into the wall.
130 IN THE VAN 130
Stephan fights to keep the van under control, screeches
into a turn and off down the road.
STEPHAN
Is he dead? (Beat) Is he dead?
RACHEL
Who?
STEPHAN
The Guard! The one who saw your
face! Is he dead?
RACHEL
No.
Stephen's grim silence says everything. He glances back at
the unconscious Vogel lying between the other two.
STEPHAN
How did he come round? How the
fuck did he come round? You gave
him the full injection?
Rachel hesitates.
STEPHAN
Did you give him the...
RACHEL
I don't know! I thought I...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 55.
STEPHAN
Jesus Christ!
Stephan can't believe it's all fallen apart so quickly.
STEPHAN
We could have gone!
DAVID
It's not over.
STEPHEN
We could have fucking...!
DAVID
WE STILL HAVE HIM! IT'S NOT OVER!
We still have him.
Stephan glares at David but doesn't say anything. The van
roars on.
131 INT. SAFE HOUSE. CORRIDOR - NIGHT 131
Rachel sits on the floor looking towards the living room,
staring at something.
RACHEL'S P.O.V
...three POTS have been placed under drips from the ceiling
inside the room. We hear the three distinct notes of the
water drops.
Rachel stares dully at the water dripping, feeling
exhausted and numb.
A key scrapes and Rachel turns to the door as Stephan and
David walk in, hair soaked from the rain.
RACHEL
(Standing up)
What did he say?
Stephan stalks past, ignoring her.
RACHEL
You made contact?
David nods. David looks after Stephan who's walked on into
the living room in grim silence.
RACHEL
What did he say?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 56.
DAVID
It's going to take time. They
need to open up a new route, they
need to find political help.
Maybe the Americans. Two weeks...
maybe three.
Rachel reacts with dismay. Rachel moves after David towards
the living room. The camera continues after her.
DAVID
We work four shifts guarding him.
We feed him at the end of each
shift. We never leave him alone.
STEPHAN
(turns to Rachel, hard)
And you're compromised. You don't
leave the fucking house.
DAVID
We can do this. We just need to
stay focussed.
The three turn to stare at something off-screen.
The camera continues into the room to find Vogel's body
slumped on the floor, bound to the radiator, mouth taped,
slumped, unconscious.
We continue towards him...closing on his
face...CLOSER...Then his eyes open and he looks at us...
132 INT. BEDROOM/LIVING ROOM. SAFE HOUSE. - DAY 132
Rachel's EYES OPEN and she lies in bed listening to the
muffled sound of Vogel CURSING and YELLING in German next
door - a breakfast ritual that has been going on for days.
IN THE LIVING ROOM
VOGEL
(In German)
.....Fucking assholes! Fucking
pig shit food! Fuck you! Fuck
you! Fuck...
David and Stephan are wrestling with an enraged Vogel,
trying to feed him.
A BOWL clatters to the floor. Vogel's shouts are muffled as
his mouth is taped again.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 57.
BEDROOM
He continues to swear at his captors as best he can through
his gag. Rachel tries to block out the sound with her
blanket.
133 KITCHEN 133
Rachel walks in and finds a flushed David wiping oatmeal
off his trousers, the empty bowl on the bench beside him.
DAVID
(Off her look)
At this rate he's going to starve
himself to death before we can
get him back.
134 LIVING ROOM - LATER 134
Rachel sits in the armchair near the end of her shift,
watching Vogel who is slumped asleep. He looks dishevelled,
the oatmeal he refused to eat smeared down his chin. She
can't delay the moment anymore.
She takes a bowl of prepared oatmeal from the table beside
her and walks towards Vogel, stirring the bowl with an
unsteady hand.
She kneels down in front of him.
In the silence, we hear rain falling heavily outside.
Vogel wakes, stays slumped, staring at her with dull eyes.
She takes the napkin that was covering the bowl and wipes
the food from his chin. Finally she removes the tape from
his mouth. Vogel watches her without moving. She offers him
a spoon of oatmeal, waiting for the sudden yelling and
abuse. He says nothing, just opens his mouth obediently.
Rachel feeds him a spoonful of oatmeal. He speaks to Rachel
in German, subtitled.
VOGEL
My wife.
Rachel ignores him, feeds him another spoonful.
VOGEL (CONT'D)
Is she hurt?
Another spoonful, and another.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 58.
VOGEL (CONT'D)
Is she alright?
An ALARM CLOCK on the table, rings - the end of her shift.
She wipes his mouth, tears some tape from the roll. Vogel
closes his eyes, a look of such genuine suffering it stops
Rachel.
VOGEL (CONT'D)
Please? Tell me she's alright.
Rachel puts the tape over his mouth and stands. David walks
in and takes his place in the ARMCHAIR facing Vogel.
Rachel begins to leave. She looks back at Vogel who is
staring after her, eyes pleading. She hesitates then gives
a small nod and turns to walk out of the room, passing
Stephan who has been standing in the doorway, watching her.
135 KITCHEN - CONTINUOUS 135
Rachel starts to wash the oatmeal bowl. Stephan follows her
in.
STEPHAN
You can't talk to him.
RACHEL
I didn't say anything.
STEPHAN
You can't listen to him.
RACHEL
I know. I just...
STEPHAN
(overlapping)
I'm not angry -
He rubs her back. Rachel stiffens a little.
STEPHAN (CONT'D)
- I'm just telling you - we don't
talk to him. We don't listen to
him. He isn't there. He isn't a
human being. He...
He stops himself.
STEPHAN (CONT'D)
We have a date. Ten days time.
The Americans are going to help.
Rachel looks at him, relieved.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 59.
RACHEL
Good.
He smiles, stares at her, moves a little closer but Rachel
has already side-stepped him and walked away.
MONTAGE
136 LIVING ROOM - DAY 136
Stephan sits on the armchair in front of Vogel, taking the
GUN apart, cleaning it.
137 LIVING ROOM - DAY 137
Vogel thrashes around on the floor as best he can, David
holding him down. Stephan tries to force oatmeal into him.
He spits it back out.
138 KITCHEN - DAY 138
Rachel is cleaning, trying to keep busy, trying to keep the
encroaching decay of the kitchen at bay, scrubbing and
scrubbing.
139 HALLWAY - MORNING 139
An exhausted David, finishing his shift, walks out of the
living room as Stephan walks out of his bedroom to take his
place.
Rachel walks out of the bathroom and into her bedroom, for
a moment the three criss-crossing each other's paths.
Rachel's bedroom door closes. Both men avoid looking at
each other as they pass it.
140 HALLWAY - MORNING 140
Stephan and David are carrying a struggling, cursing Vogel
towards the bathroom.
Before they can get there Vogel pisses himself, the urine
puddling on the floor at their feet.
STEPHAN
Fuck!
Stephan drops Vogel in disgust jumping back out of the way.
Vogel lies in the pool, staring up at him, eyes triumphant.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 60.
141 OMITTED 141
142 OMITTED 142
143 INT. SAFEHOUSE. LIVING ROOM - DAY 143
Vogel leans against the wall, staring blankly at the
window, sunk into a profound depression. He looks filthy,
jaw dark with beard growth.
Rachel watches him from the doorway.
144 LATER 144
Rachel is washing Vogel's face with a towel. He pays no
attention, continuing to stare out of the window.
Rachel picks up a bowl of shaving cream, strips the tape
off VOGEL's mouth, and begins to brush the cream over his
face. She produces a RAZOR and carefully begins to shave
his cheeks.
She stops suddenly, a TEAR is running down Vogel's cheek,
cutting a line through the soap. He turns his eyes to her.
VOGEL
Why don't you just kill me now?
Rachel pauses for a moment.
VOGEL (CONT'D)
How can you keep me waiting to
die like this!
Rachel keeps on shaving.
VOGEL
I know what you want. You want to
hand me over to the others, let
there be some fucking sham of a
trial. Then, when they kill me,
you can tell yourself that there
was no blood on your hands.
Rachel switches to the other cheek. Vogel's getting more
animated, tears in his eyes, a kind of bizarre
indignation...
VOGEL (CONT'D)
But that isn't true. There will
be blood on your hands.
(MORE)
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 61.
VOGEL (CONT'D)
You will be my murderer! You
fucking hypocrite. You fucking...
Rachel tilts his chin up a little and puts the razor to his
throat. He falls silent, tenses, waiting. Then...
VOGEL (CONT'D)
(Softly)
Yes. Do it. You want to do it...
Rachel finishes with a trembling hand.
Vogel slumps back against the wall, the tension in his body
easing away. He gives her a long, calculating look.
And as we watch some CHANGE seems to come over him, some
new fire beginning to kindle in him - a sense of cold
contempt for Rachel and with it, perhaps, a fresh
determination to survive this.
VOGEL (CONT'D)
That's right. I'd forgotten. You
Jews never knew how to kill. Only
how to die.
Rachel wipes the razor clean on the towel, SLAPS fresh tape
onto Vogel's mouth and gets up.
145 INT. KITCHEN - MORNING 145
Rachel is cleaning the kitchen again, clearing some of the
mess of dishes into the sink.
She moves a dirty pan which has been left overnight and
stops, staring at the COCKROACH which is crawling inside.
A sudden wave of NAUSEA hits her.
146 BATHROOM - MOMENTS LATER 146
Rachel crouches at the toilet, vomiting.
She finishes, rinses her mouth, looks at her pale
reflection.
She opens the door and steps out...
Vogel stands DIRECTLY IN FRONT OF HER.
Rachel stands frozen - a split second of total panic.
Then Stephan steps into sight behind Vogel, gun in hand -
the morning bathroom visit.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 62.
Rachel flattens herself against the hall wall, quickly
wiping her mouth dry, as Stephan pushes Vogel past her
towards the bathroom.
147 EXT. STREET - EVENING 147
Stephan is walking back home. A POLICE CAR SIREN wails
somewhere nearby and Stephan hurriedly cuts into an alley,
waiting in the shadows until the siren has faded away. Then
he hurries on his way.
148 LIVING ROOM - EVENING 148
Rachel uncovers the dish of prepared oatmeal and kneels
down beside a sleeping Vogel.
She removes the tape. Vogel wakes, breathes out, watches
her. After a moment...
VOGEL
I was dreaming about my wife.
She feeds him some more.
VOGEL (CONT'D)
One of the great regrets of my
life is that we were unable to
have children. My wife would have
made a wonderful mother.
Vogel watches her, then suddenly SPEAKS IN ENGLISH...
VOGEL (CONT'D)
It's a great blessing.
Rachel stares at him.
VOGEL (CONT'D)
You should try lemons. For the
morning sickness.
Rachel can't move.
VOGEL (CONT'D)
They say it helps.
Rachel struggles to hold it together, feeds him another
spoonful.
VOGEL (CONT'D)
What's your name? (Beat) Sarah?
Hannah?...Rachel? Esther? (Beat)
You Jews stay close to your
roots, don't you? It's a good
thing. Very good.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 63.
Rachel spoons in another mouthful.
VOGEL (CONT'D)
I loved the bible as a child.
Retribution. Higher justice.
Rachel shovels in another mouthful. He chews it
thoughtfully, examines her face.
VOGEL (CONT'D)
Yes. I understand you perfectly.
(Beat) You weren't lying at the
clinic when you told me about
your mother were you? About her
death?
Rachel loads the spoon with more oatmeal, determined not to
show any emotion.
VOGEL (CONT'D)
I'm very sorry for your loss.
It almost takes her breath away. She tears the tape and
puts it over his mouth, gets up and walks away, determined
not to show him any emotion.
Vogel watches her go.
149 HALLWAY - MOMENTS LATER 149
Rachel makes it out into the hallway before she feels the
tears running down her face. She gives in to them, turns
and finds David behind her.
DAVID
What happened? What's the matter?
She can't speak at first.
RACHEL
Nothing. He...nothing.
She wipes her face.
RACHEL (CONT'D)
He can understand us.
DAVID
What?
RACHEL
He can understand every word
we're saying. He just spoke to
me.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 64.
Her face contorts as she tries to compose herself. David
reaches out to hold her.
DAVID
It's alright. It's alright. It's
nearly over.
He pulls her close, holds her, rests his forehead against
hers. They stand like that, eyes closed. The moment hangs.
RACHEL
(Suddenly)
Why didn't you go? At the
station. You could have got away.
Why didn't you?
She looks up at him. He stares into her eyes. Beat. Then,
suddenly he kisses her. It's what she's waited so long for
and she's stunned for a moment, then puts her arms around
his neck, returning the kiss hungrily. They are helpless
with desire for one another.
There is a sudden scratch of a key at the front door and,
instinctively, the two break apart.
Stephan enters, hair wet from the rain. He stops, seeing
them, sensing the atmosphere. They stare back at him.
Rachel steps away a little, wiping her face.
RACHEL (CONT'D)
What did they say?
Stephan stares at them in silence. He unbuttons his coat.
DAVID
Stephan?
STEPHAN
It's not happening.
They stare at him aghast - this is the last thing they
wanted to hear.
DAVID
What the fuck does that mean?
STEPHAN
The Americans have pulled out.
(To Rachel) Has he been fed?
DAVID
So...so what does that mean?
RACHEL
Oh God...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 65.
STEPHAN
Did you feed him?
DAVID
What does that mean? What's the
plan now?
RACHEL
(rising panic)
We just need to get him to the
airfield, there must be some
other way, some...
Stephan starts down the hallway towards her, angry.
STEPHAN
I said has he...?
David instinctively steps in front of Rachel, raises a
hand.
DAVID
(overlapping)
I'm asking you...
STEPHAN
(overlapping)
I'm talking to her! Supposedly
it's her shift now, but instead
of doing what she's supposed to
be doing she's out here with you!
(To Rachel) Now answer the
fucking question: Did you feed
him?
RACHEL
YES! I fed him!
Stephan stands glaring at her, then turns abruptly away.
STEPHAN
(Beat)
There's no plan. There's no
fucking plan. They said the
operation is being "re-
evaluated."
He turns to David.
STEPHAN
You know what that means? They're
going to cut us loose.
They stare at him shocked.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 66.
STEPHAN
It's a fucking mess and they're
backing away from it quickly as
they can.
RACHEL (CONT'D)
(Beat)
No.
STEPHAN
It's happening. I can feel it.
RACHEL
They can't just leave us!
STEPHAN
Yes they can! Because we fucked
it all up! We fucked it all up
and now we're on our own!
Suddenly we hear someone KNOCKING on the front door. The
three FREEZE, staring at each other. Silence.
DAVID
Were you followed?
Stephan stares at the door, thrown.
DAVID (CONT'D)
Could you have been...?
There is another KNOCK at the door. Stephan turns to the
chest of drawers and takes out the GUN.
RACHEL
Stephan?
Stephan is hurriedly screwing the SILENCER onto the GUN.
There's another KNOCK at the door.
RACHEL (CONT'D)
Stephan!
Stephan walks into the living room and aims the gun at
Vogel. Vogel instinctively squirms away, falling to one
side, wriggling back as far as he can.
RACHEL (CONT'D)
What are you doing?
STEPHAN
If it's them, he dies.
Vogel lies, breathing hard through his nose, eyes on the
gun aimed at him.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 67.
David suddenly steps in between the two, the gun now
pointing at his chest.
STEPHAN (CONT'D)
Move.
DAVID
You're not doing this.
STEPHAN
He's not getting away from me.
DAVID
This isn't the mission.
STEPHAN
I decide what the mission is! If
I say he dies, he dies.
DAVID
We're finishing this mission.
We're taking him back.
STEPHAN
Get out of the way!
There is another KNOCK at the door. David and Stephan stare
at each other, the tension building. Abruptly Rachel turns
and walks down the hallway towards the door. Stephan calls
after her.
STEPHAN
Rachel. Rachel!
From the hallway we hear the sound of the door being opened
- the murmur of conversation.
The two men stand frozen, listening. Vogel lies, breathing
hard through his nose.
We hear the door close. The three listen as footsteps
approach down the hall...
Rachel walks back in. A long beat.
RACHEL
(Dully)
It was the lady from the bottom
apartment. She invited us to her
New Year's Eve party.
She turns and walks back out. The others stay where they
are, frozen.
We hear a PIANO PLAYING as we...
CUT TO:
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 68.
150 KITCHEN - DAY 150
As the piano music plays we see David and Stephan practise
krav magah moves - careful, controlled, but under it all an
edge of real tension between them.
151 LIVING ROOM 151
Vogel is tied in his usual place. Stephan sits in a
dangerous mood. He's playing the piano. A lyrical rendering
of Deutschland Uber Alles. Vogel is watching him.
152 KITCHEN 152
As the music continues the two men's workout grows more
intense - the punches and blocks build in speed, faster and
faster, both men breathing hard with the exertion, neither
willing to stop, a real violence simmering under the
surface.
153 INT. LIVING ROOM - DAY 153
Stephan knows he's watched and avoids Vogel's gaze until he
can stand it no longer and looks...
154 KITCHEN 154
David is the first to break through the blocks - his fist
stopping inches from Stephen's face. The two men freeze,
staring at each other, breathing hard. The music crashes to
a halt.
155 LIVING ROOM 155
Stephan is staring at Vogel. He begins to play the anthem
more discordantly, hitting the keys more violently, as if
the music is possessing him.
Then suddenly he stops, stands up and walks away from the
keyboard. Stares at Vogel.
Vogel is very aware of the sudden change in atmosphere, a
sense of impending violence.
Stephan doesn't move. The moment hangs.
156 LATER 156
David is taking over the shift from Stephan. They pass each
other in the doorway without a word.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 69.
David stops, staring...
Vogel lies in his usual place. A SACK has been placed over
his head, hooding him.
The effect is deeply sinister.
157 KITCHEN - MOMENTS LATER 157
Stephan sits eating with Rachel. David walks in and throws
the SACK on the table. Stephan glances at it, continues
eating.
DAVID
What are you doing?
STEPHAN
It's your shift.
DAVID
(To Rachel)
Did you know about this?
RACHEL
About what?
DAVID
(To Stephan)
His mouth's taped. You want him
to suffocate?
STEPHAN
I was sick of seeing his face. Go
back in.
DAVID
Don't do that again.
Stephan gets up and walks calmly towards David as if
shooing him back out the room.
STEPHAN
You don't give orders David. It's
your shift now so you can go back
in there...
He has his hands on David's chest, gently pushing him back.
David takes his hold of the hands, pulling them free and
suddenly there's a flurry of violent movement as Stephan
yanks his arms free of David and the two men shove at each
other.
RACHEL
Stop it!
They stop, breathing hard.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 70.
DAVID
We're not animals. Just remember
what we are. Remember what we're
not.
He walks back out. Stephan sits back at the table, starts
eating again. He glances at Rachel, but she won't look at
him. After a moment she gets up and walks out.
158 INT. SITTING ROOM - CONTINUOUS 158
David looks up from his chair to see in the hallway.
Something purposeful in her manner alerts him.
159 HALLWAY - CONTINUOUS 159
David appears in time to see Rachel is putting on her
overcoat.
DAVID
What are you doing?
Rachel doesn't look at him.
RACHEL
I have to get out.
DAVID
(Gently)
Rachel...
Rachel tries to unbolt the door. David bars her. Rachel
tries to talk calmly but she's fighting panic.
RACHEL
Get out of my way, please.
I'm just going to go out for a
few minutes. That's all I want to
do.
Stephan walks out of the kitchen, taking in the scene.
DAVID
She wants to go out.
RACHEL
(appealing)
No one will see me. Tell him,
David. I just want to walk. I
just want to get some...air.
Please.
Stephan shakes his head.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 71.
Rachel tries to unlock the door, but David has hold of it.
She struggles against him.
STEPHAN
Don't be stupid.
He takes her arm. Rachel jerks free.
RACHEL
GET OFF ME!
Then she slumps against the door, her back to them. She's
crying brokenly.
A beat as the two men stand over her, not attempting to
comfort her any further.
Stephan turns and walks away.
David leans his head against the door, waiting for her to
stop.
160 INT. SAFEHOUSE - LIVING ROOM. EVENING. 160
It's raining heavily outside and water is dripping through
the cracks in the ceiling.
David kneels next to VOGEL with a bowl of oatmeal and
strips the tape from his mouth.
VOGEL
Thank you. David.
David doesn't react.
Vogel hums a tune to himself in between spoonfuls, watching
David, his mood strange.
VOGEL (CONT'D)
David and Stephan and Rachel...
He gives a soft laugh, finding something amusing in the
sound of the names.
VOGEL (CONT'D)
If I had a choice I'd prefer
Rachel to feed me. So gentle...in
another life, the makings of a
Nurse, I think...in another
life...
David continues to feed, careful to appear immune to Vogel.
VOGEL (CONT'D)
How is she today?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 72.
VOGEL (CONT'D)
You should let her get more rest.
It's a dangerous time, the first
month or two of the pregnancy.
David stares at him, unable to hide his shock.
VOGEL (CONT'D)
(Beat)
You didn't know?
Vogel absorbs this thoughtfully.
VOGEL (CONT'D)
You're not the father then?
(Beat)I thought it would be you.
I thought...I don't know. The way
you look at her. The way she
looks at you...
David stirs the oatmeal, trying to think about what he's
just discovered. Vogel doesn't take his eyes off him...
VOGEL (CONT'D)
Women can be like that, they like
to make you dance first, I
remember. (As though to himself)
So, she chose the other one...?
He shakes his head, shrugs.
VOGEL (CONT'D)
That must be hard, watching them
together, right in front of you.
And you not saying a word. Like
the Poet says - "Great souls
suffer in silence." I wouldn't
have taken Stephan as a family
man. Too ambitious, too...?
Whereas you? David, I see you
with children...
DAVID
(Quietly)
Shut up.
Vogel stares at him. This is the first time someone has
spoken to him in weeks. He's quick to hide his sense of
triumph.
VOGEL
I am expressing my sympathy. For
your suffering.
DAVID
What does a monster like you know
about suffering?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 73.
VOGEL
I'm a doctor, David.
David stares at him.
DAVID
A doctor. (beat)You blind
children trying to change the
colour of their eyes. You inject
people with petrol. You...you
replace people's hands and legs
and you watch as they...
He stops himself.
DAVID (CONT'D)
This isn't medicine. This is
disease. This is sickness.
Vogel seems to consider this.
VOGEL
So we were all insane? Is that
the answer?
DAVID
(Beat)
There's no answer. I'm not
looking for an answer. I'm not
looking for...
He forces himself to be silent, tries to regain control of
himself. He offers Vogel another spoonful, but his hand
trembles a little with the violence of his emotions.
VOGEL
You're trembling.
David pushes the spoon into Vogel's mouth, starts to load
another spoonful.
VOGEL (CONT'D)
It's strange. Here I am - the
victim, kidnapped, bound, soon to
be murdered, but I think you are
the one that is afraid, David.
(Beat) Afraid of the monster.
He leans closer to David.
VOGEL (CONT'D)
(Softly)
Boo.
They stare at each other, eye to eye. Vogel senses a new
brittleness in David. His tone becomes more assured.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 74.
VOGEL (CONT'D)
Yes. Do you know why it was easy
to exterminate you people?
Your weakness. I saw it. Every
day I saw it. Every one of them,
thinking only of how to avoid
being flogged, or kicked, or
killed. Only thinking of
themselves.
David looks up at him with a strange, crooked smile, eyes
glittering.
VOGEL (CONT'D)
Why do you think it only took
four soldiers to lead a thousand
people to the gas chambers?
Entire families? Because not one,
out of thousands, had the courage
to resist, the courage to be the
first to fall. Not one would
sacrifice himself. Even when we
took their children from them. I
knew then that you people had no
right to live, no right to...
He may have begun his speech hoping to get a reaction from
David but he has lost himself in his rant and so rather
than triumph we see only a moment of startled fear in his
eyes as David suddenly swings the bowl violently at his
head, SHATTERING IT on the pipe to which he is tied.
He grabs Vogel by the collar and begins to punch him, hard,
again and again.
Vogel slides sideways, limp. And still David punches him in
a murderous rage, possessed, wanting to break his skull
open, to kill him.
Rachel and Stephan run in, with Rachel reaching him first.
She throws her arms around him, trying to stop him, but -
instinctively - he throws a punch behind him. It connects,
splitting her lip and sending her flying to the ground.
Stephan runs at him, knocking him to the floor, and remains
lying on him, the two of them breathing hard, the assault
finally over.
VOGEL slumps forward, held up only by the rope at his
wrists binding him to the pipe on the wall.
Stephan is still struggling with David, who's panting,
adrenalised, staring wildly at Vogel's slumped body.
STEPHAN
Out. We're going out.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 75.
He begins to drag him out. Stephan nods in the direction of
VOGEL.
STEPHAN (CONT'D)
(to Rachel)
Are you going to be alright?
Rachel nods.
As she hears the door close, she turns to stare at Vogel.
He's barely conscious, his face smeared with blood.
161 INT. SAFEHOUSE - BATHROOM. NIGHT. 161
Rachel drenches a cloth under the tap.
162 INT. SAFEHOUSE - LIVING ROOM. MOMENTS LATER 162
Rachel cleans the blood from VOGEL's face. He has his eyes
closed.
VOGEL
(Mumbling, in German)
Thank you...
She tears off a new strip of tape and places it over
VOGEL's mouth, gently.
She notices the rain leaking in through the ceiling and
walks off towards the kitchen. We hold on Vogel, apparently
sleeping. Then his tied hand reaches out, straining and
manages to reach one of the SHARDS of broken bowl.
163 KITCHEN - CONTINUOUS 163
Rachel gathers three METAL SAUCEPANS.
She stops for a moment looking at FIREWORKS flashing in the
sky. She remembers - it's New Years Eve.
We TRACK with her as she walks into the living room and
begins to place the pots on the floor to catch the
rainwater which is dripping through various points in the
ceiling.
CLOSE ON VOGEL'S HANDS
As he uses the shard to saw through his ropes.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 76.
ON RACHEL
...as she finishes with the pots and notices the pieces of
shattered bowl scattered around Vogel. She kneels down in
front of him and collects up the pieces. She glances up at
Vogel, checking him. He is still slumped, eyes closed.
We TRACK with her as she walks back into the kitchen. From
the living room comes the three distinct PINGS of rainwater
dripping in the pots.
She drops the pieces of bowl into the bin and stops,
puzzled. It's a moment before she works out what she's
noticed - something has changed in the sound of the
rainwater next door. There only two drips instead of three.
She walks back towards the living room...
RACHEL'S P.O.V - through the living room door we can see
that one of the pots has been overturned. Rachel slows to a
stop. A sudden wave of adrenalin causes her to turn
but...it's too late. Vogel steps out of the alcove he's
been standing in so that he is directly in front of her.
Before she can even cry out he has slashed her face open
with a SHARD OF GLASS.
Instinctively she cups her hands to her ripped face. Vogel
grabs her by the hair and stepping behind her, tries to
worm his other hand underneath her raised arms to reach her
throat with the glass.
Her training kicking in, Rachel uses a krav magah move to
grab and twist Vogel's forearm, breaking his hold on her
and turning the arm until, with a yell of pain, Vogel drops
the shard. He swings wildly at her, but Rachel ducks the
fist and drives the palm of her hand up into his face.
Vogel stumbles back, surprised by her speed and the sudden
pain of the blow.
Rachel is about to press home the attack but is blinded by
blood from her wound washing into her eyes.
As she wipes her eyes clear, Vogel grabs a LAMP from a
small chest of drawers in the hall and smashes it into her
face. She falls.
Vogel begins to run, but, driven by adrenaline and
desperation, Rachel scrambles onto all fours and lunges at
him, catching hold of his trouser leg as he moves towards
the front door.
Vogel stumbles, manages to pull a leg free and stamps down
on Rachel who lets go with a moan. He stamps again, steps
free and kicks her hard in the head.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 77.
Rachel rolls with the force of the kick and comes to a
rest, losing consciousness.
RACHEL'S P.O.V - LOW ANGLE - Fluttering in and out of
darkness - Vogel's feet as he stands beside us, breathing
hard. Then he turns and hurries to the front door...and
out.
164 EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT. 164
Vogel hurries along the walkway and sets off down the
spiral staircase of the apartment building.
165 INT. HALLWAY - NIGHT. 165
Rachel lies motionless. We wait for her to cough as we saw
her do before. But she doesn't. She just continues to lie
still.
166 EXT. STAIRCASE - CONTINUOUS 166
Below us Vogel clatters on down the stairs, flight after
flight.
167 INT. HALLWAY - CONTINUOUS 167
No movement from Rachel.
168 EXT. STAIRWELL/COURTYARD - CONTINUOUS 168
Vogel clears the stairs and bursts into the courtyard.
There is a lurid flash of fireworks from nearby and for a
moment we see Vogel lit, as he passes the point where
earlier we saw him drop to the ground.
He reaches the gate and goes through, his shadow
disappearing on the pavement.
He's gone.
169 INT. BERLIN SAFEHOUSE - LIVING ROOM. NIGHT 169
Rachel holds a blood-soaked tea towel to her cheek, trying
to staunch the flow. David sits, staring ahead, in shock.
Stephan bursts in, out of breath.
STEPHAN
Nothing. Not a trace. Nothing at
all.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 78.
He hurries to the drawers and takes out the gun, puts it
into his waistband.
STEPHAN (CONT'D)
He might go to the house, might
try and get a message to the
wife...
DAVID
(Without looking up)
He's not going back to the house.
He's gone. Fifteen years, it took
them to find him. And he's gone.
And no-one's going to find him
again.
STEPHAN
So we what? We...are you going to
make the phone call? Are you
going to tell them how he got a
fucking piece of broken bowl?
Wonderful. But don't try and take
me down with you. I've done
nothing wrong. Remember that!
Stephan kicks at the chair, at the drawers.
STEPHAN (CONT'D)
(muttering tensely)
This can't happen! This is never
going to go away.
RACHEL
I take responsibility. It was my
shift.
DAVID
(Quietly)
This happened because of me. I
let him go. And no-one's ever
going to find him again.
He closes his eyes, struggling with the enormity of his
guilt.
Stephan drops the gun onto the table, sits down. Outside we
hear more fireworks. Suddenly...
STEPHAN
No-one's ever going to find him
again.
Something in his voice causes Rachel to look up at him.
STEPHAN (CONT'D)
(Beat)
What if he didn't escape?
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 79.
RACHEL
What are you talking about?
STEPHAN
Only four people know what
happened in this room. Us, and
him. And he's not talking. No one
will ever hear from him again.
RACHEL
(Realizing what he
means)
No.
STEPHAN
Nobody needs to know what
happened here.
RACHEL
He escaped.
STEPHAN
That's the truth. But that
doesn't have to be the truth we
take home. The truth can be
anything we want it to be. The
truth is Vogel tried to escape,
you struggled with him and got
hurt. The truth is, seconds
before he got away, Rachel got
the gun and shot him. The truth
is we got rid of him.... got rid
of the body... got rid of every
trace of the Surgeon of Birkenau.
RACHEL
We can't lie about this!
STEPHAN
No, you know what? We have to. We
have to! This is...this isn't
about us. This is about Israel.
This is a national humiliation!
We can't be seen to fail. And in
the end, Vogel rots away his life
in some jungle, looking over his
shoulder, waiting for the
bullet...? Who's to say...?
He looks at them both, trying to convince them, trying to
convince himself.
STEPHAN (CONT'D)
Maybe that's a worse fate. Maybe
that's...The important thing is
justice... justice is seen to be
done!
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 80.
Rachel turns to David, waiting, expecting him to say
something. But David looks like he's been barely listening,
lost in his own thoughts. He notices Rachel staring at him.
DAVID
He's gone. What does it
matter?(Beat) He's gone.
Stephan seizes on this, sensing he's close to convincing
them.
STEPHAN
(Seizing )
He's right. It makes no
difference. No difference. All we
have to agree is that we never
talk about this. No matter what
happens, we never tell anyone.
The truth stays in this room.
Between us. Agreed?
Rachel looks at David again, wanting some kind of sign.
STEPHAN (CONT'D)
(To Rachel)
Agreed? Say it. (Silence) I need
to hear you say it!
She's still staring at David. He's still avoiding her gaze.
STEPHAN (CONT'D)
(To Rachel)
Say it. Say...
DAVID
Agreed.
Silence. Rachel closes her eyes. Instead of relief she
feels a kind of immense disappointment.
RACHEL
David...?
STEPHAN
Rachel? Say it. It's an oath. Say
it.
We CLOSE on Rachel. The moment that will change her life
forever.
From outside comes the sound of some REVELLERS on the
street cheering, more fireworks. We hear some people
chanting a countdown to the New Year...
REVELLERS (O.S.)
(From outside)
...vier, drei, zwei, ein!
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 81.
But just before the expected barrage of fireworks we...
CUT TO:
170 EXT. DAVID'S APARTMENT - 1997 - NIGHT. 170
The young Mossad Agent stands smoking outside David's door.
This is the scene we saw earlier. From within we can hear
indistinct shouting.
171 INT. DAVID'S APARTMENT - LIVING ROOM - CONTINUOUS. 171
Rachel is holding the PRINTED SHEET - the point at which we
left this scene earlier.
RACHEL
(crying out)
How could this happen? You said
he would never speak! You said
he'd never...
STEPHAN
We don't know it's him.
RACHEL
Oh God! Oh God!
STEPHAN
If you read it...
RACHEL
He's alive! He's in the Ukraine!
What else is there to read?
STEPHAN
This is a little internet story.
(Grabbing the paper,
reading)..."a psychiatric patient
claiming to be the Surgeon of
Birkenau..." Some crazy old man.
No-one is paying this any
attention. Yet.
RACHEL
(as if her mind was
elsewhere)
How did you find it?
STEPHAN
David comes back after all this
time, I want to know why. I had
his apartment searched. This was
on his computer...
Rachel stares at him.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 81A.
STEPHAN (CONT'D)
He didn't say anything to you
last night..?
Rachel doesn't answer.
STEPHAN (CONT'D)
Rachel..?
RACHEL
No!
Beat.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 82.
RACHEL (CONT'D)
(quietly)
Why would he do this..?
STEPHAN
Because he couldn't handle it. I
told him we had to deal with it
and he couldn't handle it. He
thought it was all going to come
out and he panicked...
He trails off, thinking about what happened down on the
road. Rachel stares at him. His previous words have just
sunk in.
RACHEL
(Suddenly)
Deal with it? (Beat) What does
that mean? Deal with it?
Stephan stares at her.
RACHEL (CONT'D)
What did you tell him to do?
STEPHAN
(Simply)
I told him to find Vogel. I told
him to finish it.
Rachel stares at him. She stands up, starts to walk away,
comes back, slaps him hard across the face.
RACHEL
(quiet rage)
Did you know he'd been ill? Did
you...? You knew, didn't you? You
killed him. YOU killed him! You
knew he wasn't strong enough...
STEPHAN
(overlapping)
FUCK DAVID! I don't want to hear
about David! David took the
coward's way out!
RACHEL
You could have left it alone!
It's an old man in a hospital!
You said - nobody will believe
it! No-one will notice!
STEPHAN
There's a journalist.
This stops her.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 83.
STEPHAN (CONT'D)
A Ukrainian. He's heard about it
and he's going to interview
Vogel. (Beat) Then it all comes
apart. (Beat) We don't have the
name of the hospital. You have to
find out where he is.
Rachel stares at him.
RACHEL
What are you talking about?
STEPHAN
David's taken himself out of the
equation. (Indicating his chair)
I can't do it. You're the only
one left.
RACHEL
Are you insane?
STEPHAN
We can't...
RACHEL
I'm not...Look at me! I'm not
capable of...This is insane. I
can't do this.
STEPHAN
(Beat. Simply)
You have to, Rachel. Because for
thirty years you've been taking
the credit for it. (Beat,
carefully) And there's Sarah.
It's as if he's struck her. Beat.
RACHEL
I won't do this.
She walks out.
172 EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT 172
And into the stairwell. As before, the Mossad agent stands
to let her pass, and watches as she sweeps down the stairs.
173 INT. RACHEL'S HOTEL - MORNING 173
The scene we saw earlier.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 84.
Rachel is packing, folding clothes neatly, precisely,
silently - but all the time there's a terrible tension
about her movements.
She tries to close a drawer but it sticks, She keeps
trying, then in a sudden rush of fury yanks the drawer free
and hurls it across the room.
She stands breathing hard.
Then something we didn't see - her gaze settles on a
photograph beside her table - SARAH holding her son,
smiling at us.
Rachel stares at the photograph, her breathing slowing.
174 EXT. PATIO TERRACE. HOTEL NEAR TEL AVIV - DAY 174
Stephan sits amongst the remains of a meal.
Sarah and her husband are on the beach below, playing with
their son.
Stephan watches them. He senses a presence and turns to
find Rachel behind him. She sits down, stares down at the
beach through her dark glasses.
Stephan watches, almost holding his breath, working through
lightning calculations of how to handle her. But Rachel is
the first to speak.
RACHEL
(Beat)
I always knew this would happen.
I knew we'd be punished. I knew
we'd have to pay.
STEPHAN
(Quietly)
I thought I'd already been
punished.
RACHEL
God doesn't plant car bombs.
STEPHAN
I wasn't referring to the
wheelchair.
They look at each other.
STEPHAN (CONT'D)
If I could go back, Rachel, I'd
change it all. If I could give
you back a chance to be happy, to
be...
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 85.
He stops. She is staring back at him coldly, unmoved. He
shrugs, letting that go.
STEPHAN (CONT'D)
But there's one thing I would
never change.
She looks over to where Sarah is playing with her son,
laughing.
RACHEL
(Instantly)
She isn't going to find out.
She shakes her head, as if the idea itself were impossible.
RACHEL (CONT'D)
She can never find out.
Stephan stares at her, KNOWING THAT HE HAS HER, that it's
already decided.
He takes out the envelope and slides it across the table
towards her. She examines the ticket and passports inside.
Then he slides her the BLACK CASE. We've seen this part of
the scene before.
She stares at it with disgust, knowing what it is. Then she
takes it and puts it in her handbag.
STEPHAN
My car's waiting outside. It can
take you to the airport.
She stands up, an elegant woman at lunch, her dark glasses,
her suit...
She looks down to Sarah, raises a hand in farewell.
Sarah, not understanding, waves a hand in response, calls
something which is lost under the sound of the sea.
STEPHAN (CONT'D)
Go down to her. Say goodbye to
her.
Rachel stands stock still, staring down at her daughter.
RACHEL
How can I? (Beat.) How can I?
She turns and walks away.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 86.
175 ON THE BEACH 175
Sarah stands, shading her eyes, watching the small figure
of her mother walking away from her.
176 OMITTED 176
177 OMITTED 177
178 OMITTED 178
179 EXT. CITY CENTRE. KIEV. UKRAINE - DAY. 179
A tram wipes through the frame to reveal Rachel walking
across a busy street towards the stark facade of an
imposing 1960's building.
A TITLE reads: Kiev, Ukraine
180 INT. OFFICE BUILDING - DAY 180
The public area of the building - a main reception desk, a
little cafe, a sweeping staircase leading up to the floor
above...
Rachel is at the reception desk...
180A NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS 180A
Rachel crosses to a TABAC KIOSK, glancing back to some
glass doors behind her.
A sign indicates the offices of the UKRAINIAN EVENING NEWS.
We can see a RECEPTIONIST at her desk. A young man walks
through the entrance, and she throws a knowing glance up at
him as he passes.
Rachel takes in the ALARM PAD beside the receptionist.
RACHEL
(turning to the Kiosk
Owner)
Cigarettes please.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 87.
180B GROUND FLOOR CAFE. OFFICE BUILDING - DAY 180B
Rachel sits, silhouetted against the large window. Rachel
opens her pack and lights a cigarette.
A WAITER approaches.
WAITER
(In Russian)
What can I get you?
RACHEL
Just a coffee.
She stares out at the stream of people passing in and out
of the building...
CUT TO:
181 INT. HANGAR - DAY - THE PAST 181
Late sixties. Young Rachel, Stephan and David are giving a
talk to a group of young Israeli soldiers. This is a well-
rehearsed routine, something they have probably done many
times.
RACHEL
At that moment, I don't think I
was thinking about myself at all.
I was thinking about my mother. I
was thinking about how she had
suffered in Europe.
The FACES of the soldiers, moved by this. One raises a
hand.
SOLDIER
The same question to Mr. Peretz.
The others look at David, waiting for him to make his usual
response.
But David doesn't move.
Stephan looks along the row. David sits staring straight
ahead. The silence GROWS.
And we realize he's NOT GOING TO ANSWER.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 88.
182 INT. RACHEL AND STEPHEN'S HOUSE - BEDROOM - EVENING 182
The house is cold, white, aggressively modern. Rachel sits
in her underwear, drunk, a bottle and glass of wine on her
dressing table. Stephan is dressing behind her.
STEPHAN
(Calmly)
Fuck him.
He examines his reflection in the mirror.
STEPHAN
Fuck him.
A DOORBELL rings downstairs. He walks out to answer it,
taking the wine bottle from her as he goes.
STEPHAN (CONT'D)
Hurry up.
Rachel finishes her glass, starts to apply some eye makeup.
She senses something and turns to find YOUNG SARAH (four)
watching her from the doorway. She stares back at her
dully.
RACHEL
Go to bed, Sarah.
183 LIVING ROOM - EVENING 183 *
A cocktail party in progress - Stephan is mingling with the
guests - Mossad high-fliers, Military, politicians. She *
watches him handle them - just the right mix of deference
and charm.
Rachel stands against a wall, drunk, watching him as he
laughs sycophantically at something one of the politicians
has said.
He crosses over to an attractive BLONDE WOMAN and greets
her. As Rachel watches he runs a hand down the woman's back
- an unmistakably INTIMATE gesture.
Rachel watches - depressed by how little this makes her
feel. She begins to mix herself another drink, sees someone
across the room, and her face changes...
ON DAVID
He's standing alone drinking, nervous. Rachel appears *
beside him. *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 89.
RACHEL *
My own party and you're the only *
friend I have... *
She turns, leans against the wall, scans the party, watches *
Stephan working the room. *
RACHEL (CONT'D) *
... all Stephen's friends. *
Stephen's girlfriends.
She turns to see what David's reaction to this is, but he
continues to watch Stephan. *
RACHEL (CONT'D) *
And what kind of a friend are *
you? I call you last night and... *
*
RACHEL (CONT'D) *
I thought the silence was for the *
audience, I didn't know you'd *
really lost your voice. *
David suddenly takes her hand and pulls her round the *
corner. *
AROUND THE CORNER *
He turns to her, his face alive with an energy that we *
haven't seen before - fear or excitement? *
DAVID *
Why do you call me? *
RACHEL *
What? *
DAVID *
You call me, at night, when *
you're drunk. Why do you call me? *
RACHEL *
What are you...? *
DAVID *
Do you want us to fuck around *
behind his back? Like he fucks *
around behind yours? Is that what *
you want? *
Rachel stares at him, upset and angry. *
RACHEL *
I want a friend *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 89A.
DAVID *
I don't want to be your friend. *
(Beat) I'm leaving. *
RACHEL *
Good. I don't know why you *
bothered coming if your just *
going to... *
DAVID *
(interrupting) *
Come with me. *
She realises he isn't talking about the party. *
Beat. *
RACHEL *
Where...whare are you going? *
DAVID *
It doesn't matter. Away from *
Israel, away from this...poison. *
I can't stand what it is doing to *
us. Come with me. We'll go to *
Spain. Or Italy... We can save *
ourselves. *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 90.
WIFE (O.S.) *
This is such a beautiful *
photograph, Rachel. You look like *
a pair of Angels. *
A YOUNG ISRAELI and his WIFE are admiring a photograph the *
Wife has picked up from the table - a portrait of Rachel *
and Sarah. *
RACHEL *
(Mouth dry)
Thank you. *
WIFE *
(showing it to David) *
Isn't it lovely? *
David doesn't answer, is still staring at Rachel. The *
husband senses a scene, takes the photograph. *
HUSBAND *
(Smoothly) *
You know you have to excuse us, *
(to his wife)... we must catch *
Michael... *
His wife is confused... *
HUSBAND (CONT'D) *
(leading her away) *
...before he leaves, you *
remember...? *
Rachel is staring at David, shaking her head, eyes *
glittering with tears. *
RACHEL *
You can't do this to me now. We *
had our chance. We said we would *
live with it. This is me living *
with it. *
David takes her hands. *
DAVID *
I'm in love with you, Rachel. I *
want my life back so I can live *
it with you. Come with me. *
RACHEL *
You can start again. You don't *
have a child. You don't have *
anyone. *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 90A.
DAVID *
I thought I did. *
(beat) *
Why can't we be happy? *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 91.
RACHEL
(after a beat, quietly) *
Because we did a terrible thing.. *
He nods, finally, and lets go of her hand. Beat. Then he *
turns and walks away from her through the crowd to the *
door, and is gone. *
She moves to follow him, then stops. *
Rachel turns and finds STEPHAN standing against the wall, *
waiting. They stare at each other. *
STEPHAN *
(flat) *
There you are. *
He leads her back towards the party. *
184 INT. NEWSPAPER BUILDING - GROUND FL. CAFE - EARLY EVENING 184
Rachel sits, still smoking, though it's dark outside now.
There is a sound of chatter from above her and she looks up
to see JOURNALISTS spilling out from the offices above,
coming down the stairs towards her.
Rachel eases a PHOTOCOPIED SHEET from her bag and examines
it...
INSERT SHEET
A photocopy of a JOURNALIST'S BY-LINE - a long, rather
mournful face, the name YURI TITOV.
She checks the face, slips the sheet back in the bag, looks
up, studying the men descending towards her. Moments later
she has found him - chatting to a colleague.
He reaches the ground floor and walking past her, goes to
the bar for a coffee.
Rachel finds herself staring at him - the man WHO COULD
DESTROY HER LIFE.
Yuri seems to sense someone watching him and looks to where
Rachel was sitting.
But there's no-one there.
185 INT. NEWSPAPER OFFICE LOBBY. CONTINUOUS. 185
The PRETTY RECEPTIONIST stands chatting to her BOYFRIEND, a
young journalist. He is holding her coat for.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 92.
She starts to put it on and the Boyfriend gives a brief
bark and play-bites at her neck. She laughs, pushing him
away. Rachel hurries in.
RACHEL
(Russian)
Am I late? I'm sorry.... Can I
place an advertisement?
RECEPTIONIST
(gathering her things)
100 grivna for twenty words. 5
grivna a word after that.
Rachel proffers an envelope.
RACHEL (CONT'D)
Here...
The girl takes it.
RECEPTIONIST
Thanks.
Rachel fishes in her bag and hands over a 100 GRIVNA NOTE.
RACHEL
This should cover it.
The girl drops the envelope onto her desk, and slips the
money into a small DESKTOP DRAWER UNIT, as Rachel leaves.
186 INT. NEWSPAPER OFFICE - MEZZANINE LEVEL. CONTINUOUS. 186
Rachel pauses outside the doors, zipping her bag, watching
the receptionist tap a code into the alarm key-pad before
letting herself and the Boyfriend out. She locks the door
after them and the two walk past Rachel who smiles a
goodbye.
She watches them go.
186A INT. NEWSPAPER BUILDING - GROUND FLOOR CAFE - NIGHT 186A
The place is dark now, eerily lit by the street lights
outside. An ELDERLY SECURITY GUARD trudges past, whistling
softly.
187 OMITTED 187
188 OMITTED 188
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 93.
189 INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. 189
We're looking through the glass doors to the shadowy
mezzanine level beyond. A DARK FIGURE stands silhouetted at
the door. We hear the scrape of tools working on the lock.
There is a click, the doors open and Rachel slips inside.
The alarm begins to BEEP. Rachel takes out a TORCH. A quick
twist and the beam becomes ULTRAVIOLET.
As Rachel moves swiftly towards the alarm box, the beam
from the torch sweeps across the girl's desk, and we see
Rachel's envelope glowing a deep PURPLE. We may also notice
that the desktop drawer unit where the girl placed the
money is smudged with purple FINGERPRINTS.
Rachel opens the alarm box and shines her beam onto the
keypad. We see four PURPLE FINGERPRINTS, one deeply
pigmented, the other three progressively less so.
Rachel takes a deep breath and punches the four marked keys
in what she hopes is the correct order. The alarm falls
silent.
She moves quickly out of the lobby, down the corridor...
190 INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. 190
...and into the main press room.
Using her torch on its regular setting, Rachel scours the
desks for information.
On one desk is a photograph of the journalist we just met -
YURI - HOLDING A LARGE FISH in triumph. Rachel dives into
the desk's FILING UNIT and begins to rifle through the
files.
Presently, she finds an OLD PICTURE OF VOGEL. He wears SS
uniform, the same shot we have seen before.
Behind it, a stack of SCRIBBLED NOTES. She begins to scan
them.
191 INT. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS 191
The Receptionist and her drunk BOYFRIEND stand at the doors
to the newspaper office, trying to open them. It takes them
a moment, as - unaware that it was unlocked - the girl has
accidentally locked it. Her boyfriend tussles with her
playfully, keen for her to let him try instead, but she
swats him away, turns the key again and finally they're in.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 94.
192 INT. NEWSPAPER OFFICE - MAIN ROOM. NIGHT. 192
Rachel, unaware, is still reading through the notes. She
takes out paper and pen and copies down the information she
needs.
193 INT. NEWSPAPER OFFICE - LOBBY. NIGHT. 193
The receptionist stands by the alarm box, drunk and
confused, as the Boyfriend, impatient and equally drunk,
comes up close behind her and reaches round to clumsily
unbutton her coat.
RECEPTIONIST
(Whispering)
That's weird.
The coat undone, the Boyfriend reaches round and snakes his
hands up inside her sweater. She ignores him.
RECEPTIONIST (CONT'D)
I set the alarm.
BOYFRIEND
What?
RECEPTIONIST
The alarm's not on.
BOYFRIEND
Who gives a shit?
He moves his hands from her breasts to grab her around the
waist and pull her away from the alarm box.
194 INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS. 194
Rachel is still at the desk reading. Suddenly the main
LIGHTS are switched on and the Receptionist and the
Boyfriend stagger into sight.
Rachel stands frozen, COMPLETELY VISIBLE.
The girl and boyfriend stand kissing, too engrossed in each
other to see the woman standing only ten feet from them.
The Receptionist pulls free, laughing, makes it back to the
entrance and switches the lights off, plunging the room
into darkness.
Rachel moves behind a column.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 95.
Laughing softly, the Boyfriend leads the girl over to a
desk. He opens a drawer, searches through it, triumphantly
produces a PETTY CASH TIN.
BOYFRIEND
The loot!
He starts to take some cash from the box.
RECEPTIONIST
(Laughing)
You can't!
BOYFRIEND
I'll put in an i-o-u...
He scribbles on a piece of paper.
BOYFRIEND (CONT'D)
"Andrei borrowed money to take
Katia to Club Oxygen."
He drops the note in the tin.
RECEPTIONIST
You're going to get fired.
He kisses her.
BOYFRIEND
You're worth it.
RECEPTIONIST
You're going to get me fired!
BOYFRIEND
(Kissing her)
I'm worth it.
They kiss again, slowly backing up against the desk Rachel
was searching. The two struggle with their clothes.
195 BEHIND THE COLUMN 195
Rachel has no way of reaching the door.
She closes her eyes as the young couple begin to have sex
on the desk.
Then she opens her eyes and notices something...
RACHEL'S P.O.V - CLOSE on her TORCH which is still on the
desk.
The Boyfriend seems to be staring RIGHT AT IT.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 96.
Rachel watches, holding her breath.
ON BOYFRIEND
...as we realise he is staring STRAIGHT THROUGH the torch,
lost in the moment.
Next moment the couple change positions and some books and
the torch are swept from the desk and clatter to the floor.
The TORCH ROLLS across the carpet to the shadowy entrance
of the cubicle.
BEHIND THE COLUMN
Rachel stares at the torch, wondering if she can reach it
before they can see her. But at the moment the desktop
tryst reaches its noisy conclusion.
AT THE DESK
The Boyfriend does up his trousers and pulls on his coat.
The Receptionist adjusts her dress. She notices the fallen
items and begins to pick them up, following the trail to
the torch.
BEHIND THE COLUMN
Rachel stands frozen as the Receptionist stoops down
directly IN FRONT OF HER and picks up the torch.
The Boyfriend notices.
BOYFRIEND
What are you doing?
RECEPTIONIST
I'm tidying up.
BOYFRIEND
Are you working? Are you at work
now?
RECEPTIONIST
(Laughing)
No, I'm not working.
BOYFRIEND
So leave them.
She drops the objects and follows her Boyfriend out.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 97.
Shaking, Rachel picks up her torch and replaces the items
she is still holding from Yuri's file into the filing
cabinet.
From OS, we hear the BEEP BEEP BEEP of the alarm being
reset.
Rachel's heart sinks.
OS, we hear office doors close, and the KEY TURNING in the
lock.
Rachel's eyes alight on A MOTION SENSOR, blinking in the
corner of the room.
She waits. And eventually - no choice - she runs for the
door.
The motion sensor lights up and the alarm strikes up loudly
with a warning BEEP-BEEP-BEEP.
196 INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS. 196
Frantic, Rachel dashes to the alarm box, the insistent beep-
beep-beep even louder here. Rachel runs for the door, yanks
it open and bolts out.
Moments later, the alarm CLANGS into action.
196A EXT. BACK OF BUILDING - NIGHT 196A
Rachel bursts out of a fire exit, the siren blaring and
disappears into the night.
197 EXT. RACHEL'S CAR. KIEV STREET - NIGHT 197
Rachel's car drives off down the road.
198 INT. CAR. UKRAINIAN ROAD - NIGHT. 198
Rachel has pulled over and is on her cell-phone to Stephan.
RACHEL
He's at the BABENKO Hospital.
199 INT. STEPHAN'S OFFICE - NIGHT 199
Stephan is alone, working at his computer. He taps in the
name, searches, clicks on the link to a map.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 98.
STEPHAN (CONT'D)
It's outside Vinnycja. About a
hundred and fifty miles south-
west of you. What name is he
going under?
Rachel checks her notes.
RACHEL (O.S.)
Ivan Schevchuk. He's the right
age.
STEPHAN
When is he supposed to interview
him?
200 INT. CAR - NIGHT 200
RACHEL
Tomorrow.
There's silence from the other end. Both know what this
means.
STEPHAN (O.S.)
This will be over soon. And when
it is...
Rachel hangs up.
201 EXT. ROAD - MORNING 201
A car drives through the wintry landscape.
202 INT/EXT. HIRE CAR. ROAD - MORNING 202
A forest of fir trees pass as she drives. Rachel's mind is
elsewhere.
The car drifts to the wrong side, then swerves as she
corrects.
STUDENT (O.S.)
What were you thinking at that
moment?
CUT TO:
203 INT. UNIVERSITY LECTURE HALL. TEL AVIV - EVENING 203
The night before David's suicide.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 99.
RACHEL is being interviewed by a FEMALE FACULTY MEMBER.
Projected on a screen behind is an image of the young
Rachel, Stephan and David.
The audience consists of mainly female students, hands
raised.
STUDENT
Did you think you were going to
die?
Rachel seems to consider this carefully, although we know
by now that this is a question she's been asked thousands
of times and has a carefully rehearsed answer to.
RACHEL
I'll tell you something. At that
moment, when I was on the floor,
I wasn't thinking about myself at
all. I was thinking about my
mother. And what she had suffered
in Europe. I think that was what
gave me the strength to get up
again.
The audience listen, moved. Rachel looks out and then
FREEZES - Older David sits near the back of the room.
LECTURER
Well, I'm sure you'll all join me
in thanking Ms Singer...
As the audience applaud enthusiastically Rachel smiles,
trying to regain her composure but her eyes are drawn back
to David, standing in the shadows, watching her intently.
204 INT. AUDITORIUM - LATER 204 *
The place is empty now, only David and Rachel sitting in *
the seats. *
David looks like a man who's been up on speed for too long, *
eyes strangely bright in his exhausted face. *
Neither of them seems to be able to bridge the divide *
DAVID *
You look well. *
Rachel ignores this. She's waiting for an explanation. *
RACHEL
Does Stephan know you're here? *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 100.
DAVID
I expect so. (Beat) I read about *
him. How is he? *
RACHEL
(shrugs) *
The same. Different. Resigned to *
life at a desk. He likes to play *
the tragic hero... *
She stops herself, ashamed. *
RACHEL (CONT'D)
Things became...very bad between *
us. We try to stay civil for *
Sarah. *
DAVID *
Have you met anyone else? *
Rachel stares at him. How can he even ask this? *
RACHEL
No. Thank you for asking. There *
was someone...but he left. And I *
never heard from him again. *
(beat, hard) *
What are you doing here, David? *
DAVID *
I wrote you letters. *
RACHEL
Pity you didn't send any of them *
DAVID *
Rachel... *
RACHEL *
(overlapping) *
What is it? Thirty years...? *
She's suddenly so angry, she starts to gather her things to *
go. *
DAVID *
I wanted to see you... *
RACHEL *
(overlapping) *
All that time...Not a single *
word? *
DAVID *
Don't go. *
She stops. *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 101.
DAVID
I was ill for a while, Rachel. *
(A beat) *
I spent some time in ... in a *
kind of hospital *
RACHEL
Where? *
DAVID *
Mexico *
RACHEL *
What were you doing in Mexico? *
DAVID *
Different jobs. Some teaching. *
Whatever I could get. *
Beat. *
DAVID *
I travelled a lot. The States. *
Most of South America. North *
Africa.... I kept moving *
(beat) *
Looking for him *
RACHEL
Who..? *
He doesn't answer and she looks up, suddenly realising who *
he means. She feels a sudden, instinctive rush of fear. *
RACHEL (CONT'D) *
Why? *
(beat) *
What would you have done if you *
had found him..? *
He's watching her intently *
DAVID *
I would have told the truth. I *
would have gone to the newspaper, *
and said "this is the Surgeon of *
Birkenau." I could have finally *
seen him face trial. *
Rachel listens to this, mesmerised. *
RACHEL *
And what would have happened to *
us? *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09
101A.
DAVID *
We'd be free. Whatever happened *
to us, it seemed to me we'd be *
free. *
Rachel stares at him without answering *
DAVID *
Don't you agree? Aren't you tired *
of lying? Isn't that what you *
would have done - if you'd found *
him? *
RACHEL *
But it isn't just us. (Beat) It's *
Sarah... *
Beat. Something changes in David's face, something fading *
away. He sits slowly back *
RACHEL (CONT'D) *
She hasn't done anything wrong. *
DAVID *
(Quietly) *
No. *
RACHEL *
If the truth had come out she *
would be destroyed. (Beat) *
So...no, I wouldn't have told the *
truth. *
(A long beat) *
But you never found him *
She looks at him, waiting for him to contradict this. *
DAVID *
No I never did. *
The LECTURER appears at the doors to the auditorium. *
LECTURER *
Ms Singer? *
RACHEL *
(Relieved) *
Yes. Thank you... *
She stands up again, the spell is broken. *
RACHEL(CONT'D) *
There's a car for me....(Putting *
on her coat) Did you hear about *
Sarah's book...? *
After a moment, David nods. *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09
101B.
RACHEL *
The launch is tomorrow. Perhaps *
you could come? I don't know if *
Stephan will be there or not, *
but... *
DAVID
(suddenly) *
If we could go back... if I'd *
waited for you...if you'd *
come...would it have been *
different...? *
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 102.
RACHEL *
We can't go back.
A beat. *
DAVID
I'm sorry. *
RACHEL
Come tomorrow. We'll talk then? *
David gives a smile that might be an assent. Or might not. *
Rachel nods, walks quickly out of the auditorium. David *
sits as the light banks above switch off one at a time, *
watches the line of shadow moving towards him. *
HARD CUT TO:
204A EXT. ROAD. UKRAINE - DAY - THE PRESENT 204A
A car roars past and is gone, revealing Rachel standing
amongst the trees beside her car, a cigarette forgotten in
her hand, absorbing what it was David was asking her.
Finally she drops the cigarette and climbs back into her
car.
205 INT. CAR - DAY 205
CLOSE ON RACHEL
...driving, lost in thought. She drives into some
grounds...
RACHEL'S P.O.V THROUGH WINDSCREEN
The BABENKO HOSPITAL - a huge, imposing building stands in
wintry grounds. A long drive leads up to the car park and
the entrance.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 103.
206 OMITTED 206
207 I/E. CAR - CONTINUOUS 207
Rachel stares up at the building as she drives towards it.
208 INT. BABENKO HOSPITAL - RECEPTION. CONTINUOUS. 208
The large lobby area, vast pillars. A few stairs lead up
from this to a waiting area, separated from the corridors
beyond by BARS AND LOCKED GATES.
Rachel approaches a young male REGISTRAR at RECEPTION.
RACHEL
(Russian)
Good morning. I'm here to visit
Mr. Schevchuk?
The man squints at her, checks his register an squints at
her again.
REGISTRAR
You're from the newspaper?
Because I have a man's name
here...
RACHEL
Oh, no, no. I'm Mr Schevchuk's
niece. Anna Barova. I've been
before, do you remember?
A moment's scrutiny, then a shrug.
REGISTRAR
Well, our visiting hours haven't
changed, I'm afraid. Eleven till
one.
He points to a PLAQUE that reads:
VISITING HOURS: 11:00am - 1:00am, 5:00pm - 8:00pm
Sarah glances at her watch. It's 10.25.
REGISTRAR (CONT'D)
Take a seat?
He points to a waiting area.
Rachel walks up the few stairs past a large PILLAR and
takes a seat, trying to think of her next step.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 104.
She glances to her left, through the bars, and sees an OLD
WOMAN in a patient's gown staring blankly at her from the
far end of the corridor. A DOCTOR appears and leads the Old
Woman away, still staring.
Rachel looks away, unnerved.
Someone has just walked in and is talking to the
Receptionist. Rachel's view is obscured by the pillar and
she leans slightly to see who it is.
RACHEL'S P.O.V - YURI stands showing his press card to the
Registrar.
AT RECEPTION
The Registrar passes the press card back.
REGISTRAR
Mr. Schevchuk is in room 414.
Visiting time starts at eleven
o'clock. You can take a seat over
there.
Yuri walks across the lobby, towards where Rachel is
waiting, but as he clears the pillar we see her seat is
EMPTY.
ON THE OTHER SIDE OF THE PILLAR
...Rachel waits for Yuri to pass and then slips back out of
the lobby.
209 EXT. BABENKO HOSPITAL - CONTINUOUS. 209
Rachel emerges - panicking. Time is almost up. What can she
do?
210 EXT/INT. CAR. REAR OF HOSPITAL - MOMENTS LATER 210
Rachel's car is speeding down a narrow road that runs
behind the hospital. Two stone arches frame the road, where
the building meets the hillside.
RACHEL'S P.O.V - high fences - the forbidding facade of the
hospital - rows of barred windows.
Rachel is scanning the building, looking for some way in.
211 EXT/INT. CAR/REAR ENTRANCE - MOMENTS LATER 211
Suddenly we pass a central arched entrance. A man is
opening large double METAL DOORS for A LAUNDRY VAN to leave
the hospital.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 105.
It takes Rachel a few moments to register it. Then she
BRAKES.
212 EXT. BACK OF HOSPITAL - MOMENTS LATER 212
The LAUNDRY VAN is driving through the doors. It stops,
engine idling, and the DRIVER begins to climb down to close
the doors after him.
Before he clears the side of the truck, Rachel slips into
the darkness.
The DRIVER, oblivious, reaches the doors and begins to
swing them shut...
213 INT. BABENKO HOSPITAL - DAY 213
Rachel runs up the staircase from the service area of the
hospital.
214 INT. CORRIDOR. BABENKO HOSPITAL - DAY 214
Long and bleak with rows of BARRED DOORS. Rachel runs on.
215 INT. WAITING AREA. BABENKO HOSPITAL -DAY. 215
Yuri is writing in a notebook. The clock says: 10:50.
216 INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY 216
Rachel reaches a junction - the vast, white corridors
stretching away from her in different directions, like a
nightmarish maze.
She stares about her, picks a corridor and begins to run
again.
217 INT. CORRIDOR/CENTRAL STAIRWELL - DAY 217
Rachel reaches a MAP on the wall and scans it, frantically
trying to locate the room she needs.
She hurries on to an ancient looking ELEVATOR and gets in,
jabs at the fourth floor button.
With a groan of its motor the elevator begins to rise.
218 CORRIDOR 218
RACHEL'S P.O.V - TRACKING past rows of NUMBERED DOORS.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 106.
Finally we reach it - ROOM 414.
Rachel stares at the door.
219 INT. TOILETS. BABENKO HOSPITAL - DAY 219
Rachel sits in a CUBICLE. She takes the BLACK CASE from her
handbag and opens it. Inside is a pen. She lifts this and
the false bottom of the case away to reveal a HYPODERMIC
NEEDLE and an AMPULE of a clear liquid. With trembling
hands she begins to prepare the injection.
She can't quite believe what she is about to do.
220 INT. ROOM 414 - CONTINUOUS 220
Rachel enters the room. The curtains are drawn and Rachel
hesitates for a moment, her eyes adjusting to the gloom.
A MAN sits in a chair, angled towards the window, his back
to us. An IV drip hangs on a stand, its tube running into a
cannula on the back of a withered hand which hangs from the
chair.
The only sound is the faint, rasping breath of the man.
Rachel moves a little closer. On the bottom of the bed
hangs a medical chart. The name reads Ivan Schevchuk.
Rachel moves closer, carefully taking the HYPODERMIC NEEDLE
from her pocket.
221 INT. BABENKO HOSPITAL - RECEPTION. DAY. 221
A NURSE is unlocking the gate at the waiting area for Yuri.
He walks through them and over to the ELEVATOR.
222 INT. ROOM 414 - DAY 222
Rachel stands by the IV drip and tube. She can inject
directly into the tube - and it will be over. She holds the
tube, rests the tip of the needle against it. She struggles
with herself. Just one tiny push...
She can't do it.
She stands frozen for a moment then slowly lowers the
needle.
Beside her, the steady breathing alters. The Man stirs and
a cadaverous face half turns towards us.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 107.
Rachel and Schevchuk stare at each other. The face is
ancient, lined...but IT ISN'T THE FACE OF VOGEL.
IVAN SCHEVCHUK
(Weakly)
Are you the journalist? (Beat)
Do you know who I am?
RACHEL
(Beat, meaning it)
No. No, I don't.
IVAN SCHEVCHUK
My name is Dieter Vogel. I am the
Surgeon of Birkenau. (Beat) Have
you heard of me?
RACHEL
Yes. I've heard of you.
Schevchuk looks at his withered hands.
IVAN SCHEVCHUK
(Simply)
I have killed thousands. You can
take my photograph. The last
photograph of the Surgeon of
Birkenau?
He struggles to raise his arm in the Nazi salute, a
pathetic sick man.
Rachel sits down at Schevchuk's desk, feeling suddenly
exhausted.
223 INT. ELEVATOR - DAY 223
Yuri stands in the elevator waiting for the doors to close.
NURSE
Hold the doors please.
Yuri holds the doors, as the Nurse approaches, escorting an
ELDERLY WOMAN with a walker - the two moving at a snails
pace.
Yuri watches, amused.
224 INT. ROOM 414 - DAY 224
We CLOSE on Rachel, lost in thought. Beside her Schevchuk
rambles on.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 108.
IVAN SCHEVCHUK (O.S.)
...It comes down to blood. We
weren't afraid of power. It was
our destiny. The slave races had
bred with apes. But we Aryans are
descendants of the Theozoa who
come from another planet. We were
born to rule and to...
He dissolves into a fit of weak coughing.
Rachel stares at a NOTEPAD AND PEN on the desk beside her.
225 INT. CORRIDOR - DAY 225
Yuri walks towards Schevchuk's room. He pays no attention
to Rachel as he passes her, sitting on a bench, dialling
her cell phone. She listens to the other end ring.
226 OMITTED 226
227 INT. TEL AVIV - STEPHAN'S OFFICE - CONTINUOUS 227
Stephan is talking to a couple of OFFICIALS. His cell phone
rings.
STEPHAN
(Answering)
Yes?
RACHEL (O.S.)
(Beat)
It isn't him.
Stephan nods, a fixed smile on his face, covers the
mouthpiece.
STEPHAN
(gesturing to Officials)
A family matter... Would you give
me a moment?
The two OFFICIALS leave the office, closing the door behind
them. Stephan takes a a beat to calm his breathing.
STEPHAN (CONT'D)
(Into phone)
You're sure?
228 INT. CORRIDOR. BABENKO HOSPITAL - DAY 228
RACHEL
It isn't him. It's over.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 109.
STEPHAN (O.S.)
Thank God. Thank God. This is
wonderful. This is...and you're
okay? Rachel? You're alright,
yes?
Rachel stares at the wall. Silence.
STEPHAN (O.S.)(CONT'D)
Rachel?
RACHEL
You were wrong.
STEPHAN (O.S.)
Well, thank God I was, but...
RACHEL
About David. You were wrong about
him.
229 ON STEPHAN 229
...smiling and gesturing "one minute" to the two officials
on the other side of the glass partition.
STEPHAN
About David?
RACHEL (O.S.)
He didn't kill himself because he
was afraid the story would come
out.
This gets Stephan's attention.
230 ON RACHEL 230
RACHEL
When he came to see me, he was
asking me for something.
STEPHAN (O.S.)
What?
RACHEL
My permission. And I didn't give
it. I wouldn't let him tell the
truth and he was tired of living
with the lie.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09
109A.
231 ON STEPHAN 231
...mind whirring. He can sense something.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 110.
STEPHAN
Truth is a luxury, Rachel. Some
people have to put other things
first - their country, their
people...their children...
232 ON RACHEL 232
Struggling not to cry.
STEPHAN (O.S.)
Sarah's so proud of you, Rachel.
You have to think about her.
RACHEL
(Crying)
I want her to be proud of me.
Stephan is desperate to talk her down from the ledge.
STEPHAN (O.S.)
(Soothing)
Of course you do.
RACHEL
I want to do something to make
her proud of me.
233 ON STEPHAN 233
STEPHAN
Rachel...? Rachel...?
RACHEL (O.S.)
People have to know the truth,
Stephan. David was right.
234 ON RACHEL 234
STEPHAN (O.S.)
Listen to me...
RACHEL
Goodbye.
STEPHAN (O.S.)
Rachel, listen to me...!
She hangs up.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 111.
235 ON STEPHAN 235
...listening to the dial tone, panic overwhelming him.
There's a knock at the door and an ASSISTANT appears.
ASSISTANT
Sir....?
Stephan doesn't move.
236 ON RACHEL 236
She sits for a moment, then stands up...
237 INT. CORRIDOR. HOSPITAL - CONTINUOUS 237
LONG SHOT
From the other end of the corridor, as the small figure of
Rachel steps away from the bench. She straightens her scarf
and wipes her eyes, then begins to walk towards us.
REVERSE - ON RACHEL - OVER THE SHOULDER
As she walks towards the end of the corridor.
238 INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY 238
PULLING RACHEL
As she moves down another corridor.
She reaches an opening on her left, which reveals a
STAIRCASE winding around a central lift shaft, caged in
frosted glass panels.
She glances through it as she passes.
And just for a second we see an ELDERLY MAN walking down
the stairs.
Rachel has walked on a few steps before it registers, and
she stops -
VOGEL.
She walks back to the opening.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 112.
The figure seems to have retraced their steps, because they
are now walking FURTHER UP the staircase, on the other side
of the lift shaft - a shadowy figure through the frosted
glass which quickly disappears from sight.
Rachel stares after him, frozen. What did she just see?
239 INT. STAIRWELL. HOSPITAL - DAY 239
She begins to climb the stairs.
240 INT. REC ROOM - DAY 240
Rachel comes through double doors and finds herself in a
long REC ROOM - PATIENTS and some STAFF grouped around the
room.
Rachel begins to walk through the room - elderly men all
around her, playing cards, reading, some sitting staring
vacantly.
She walks through them, staring at faces. Is he here? Is he
amongst this ordinary world?
She feels her pace quicken as she's drawn on through the
room. It's as if she's back at that terrible night. Vogel's
ahead of her somewhere, escaping all over again.
She FLASHES through DOUBLE DOORS into a junction area - a
long, empty corridor leading away from her on the right,
ahead another set of double doors...
She bursts through these doors and finds herself in...
241 INT. LOCKER ROOM/BATHROOM - DAY 241
A long, white tiled corridor of a room. A row of windows
down the right, under which sit WASHBASINS. There's a row
of LOCKERS and DOORS along the left.
Rachel walks on, feeling increasingly as if she's in a
dream.
She's deep into the room before she realises it's a dead-
end - there's no exit ahead of her.
VOGEL
(a dull rasp)
Why did you come...?
She turns and freezes.
Vogel has emerged from one of the doorways on the left. Now
he's between her and the doors on the far side of the room.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 113.
VOGEL (CONT'D)
Why did you have to come? You
didn't have to follow me.
He begins to advance slowly towards her.
VOGEL (CONT'D)
Was it Schevchuk? Did he talk?
Rachel stands frozen as he creeps closer. He reaches out a
hand as if to reassure her, a ghastly attempt at
reasonableness.
VOGEL
I can stop him. I won't tell him
anymore. (Almost pleading) Nobody
needs to know.
As if the spell has broken Rachel makes a sudden dart for
the doors. But before she can pass him, Vogel has moved
with surprising speed and, almost before Rachel has seen
the SCISSORS in his other hand, he has stabbed them into
her shoulder.
She reels over against the opposite wall, dislodging a
GLASS SHELF which shatters into a WASHBASIN behind her.
Vogel goes after her, pinning her against the basin, one
hand on her throat, the other hand trying to stab her
again. Rachel manages to grab the scissor hand and the two
struggle frantically.
The scissors inch closer to her FACE, to her EYE.
Her other hand emerges from the basin behind her holding a
piece of the broken glass shelf, which she whips across
Vogel's face.
He gives a horrible shriek and lets her go, clutching at
his cheek.
Rachel collapses gasping to the floor.
Moaning, Vogel stumbles to a basin, blood dripping down
onto the white porcelain from his slashed face.
He suddenly notices Rachel has made it to her knees and is
trying to crawl towards the door,
He walks after her, pulls back her head, gets ready to stab
the scissors into her throat.
VOGEL
You Jews never knew how to kill.
Only how to die.
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 114.
Then he gives a gasp of pain, eyes closed, his whole body
doubling with the pain, hands weakly scrabbling at the
PIECE OF GLASS Rachel has stabbed into his thigh.
He falls, almost on top of Rachel, and she finds herself
pressed against his contorted face as he hisses and spits
in agony.
His hand searches blindly for the dropped scissors.
Rachel grapples with him, almost embracing him, apparently
trying to prevent him for reaching it.
His searching hand locates the scissors and his eyes open
in triumph, staring straight into Rachel's. He raises the
scissors above his head.
Then he stabs Rachel in the stomach.
Rachel jack-knifes, as if she's been punched.
Then...nothing. Both lie still. The only sound is Vogel's
rasping breathing.
Slowly Vogel gathers himself, drops the scissors, gets onto
his knees - the victor.
He climbs to his feet and begins to limp towards the door.
242 INT. CORRIDOR - DAY 242
PULLING VOGEL
...as he walks down the corridor, breathing hard, trying to
make it back to his room, back to safety.
Suddenly he staggers against the wall.
Something's wrong, something in his back. He twists around
trying to locate the source of the strange sensation. And
there it is - the HYPODERMIC NEEDLE Rachel has stuck
between his shoulders.
He touches it with his fingertips, eyes wide with horror,
feeling the rush of lethal chemicals through his blood. He
twists again trying to pull the needle free but his legs
are already giving way and he collapses to the floor.
Moments later he's dead.
CUT TO:
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 115.
243 INT. WASHROOM - CONTINUOUS 243
Rachel manages to turn over, starts to drag herself up...
MUSIC begins.
244 INT. ROOM 414 - DAY 244
As the music continues we see Yuri putting his coat on.
He's evidently finished his fruitless interview with
Schevchuk, who is sitting slumped by the window. Yuri
turns, about to leave, when he suddenly notices a NOTE upon
the desk, ADDRESSED TO HIM.
Surprised, he picks up the note and begins to read it.
INSERT
We see the first line - "My name is Rachel Singer."
245 EXT. BABENKO HOSPITAL - CONTINUOUS 245
The road at the back of the hospital.
The music continues as we TRACK with Rachel, staring
steadily ahead, walking slowly down the long road, her coat
pulled around her.
In the distance, framed between the arches, her abandoned
car.
Blood begins to spot the ground behind her.
246 YOUNG RACHEL'S P.O.V - THE PAST 246
We are in darkness. Then a DOOR opens ahead of us and
slides to one side revealing an oval of brilliant white
light.
Slowly we TRACK FORWARD towards the harsh light.
247 OLDER RACHEL 247
...walking on towards her car.
248 MILITARY AIRBASE. ISRAEL - THE PAST 248
YOUNG RACHEL'S P.O.V -
FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09 116.
We're at the top of an AIRPLANE STAIRWAY, which leads down
to the runway below, and two lines of waiting DIGNITARIES,
applauding.
249 OLDER RACHEL 249
Walking on - a small lone figure against the white of the
snow.
250 MILITARY AIRBASE. ISRAEL - THE PAST 250
The three YOUNG PEOPLE begin their descent down the stairs
towards the WELCOME PARTY.
251 OLDER RACHEL 251
...tiny, framed within the two arches. Still moving towards
the car....
252 MILITARY AIRBASE. ISRAEL - THE PAST 252
We CLOSE on Young Rachel as she blinks against the harsh
sunlight, takes out a pair of sunglasses and slips them on.
Then she steps forward to accept her reward.
FADE OUT
|
