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The Debt Movie Script

Writer(s) : Matthew Vaughn, Jane Goldman, Peter Straughan

Genres : Action, Drama, Thriller

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                                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.
    FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09   3.


    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.
    FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09   5.


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.
     FINAL SHOOTING SCRIPT WITH PINK AMENDMENTS - 26.03.09   6.


     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