The Man in the High Castle
Premiere Episode
Written By
Frank Spotnitz
Directed by
David Semel
August 30, 2014
A1 A MUSICAL FANFARE, stirring and triumphant. A TITLE CARD -- A1
OUR PROUD NATION
Then -- NEWSREEL FILM, over-saturated Kodachrome color --
ADOLF HITLER *
Greets Nazi Officers at his mountaintop retreat in Bavaria.
NARRATOR (V.O.)
A grateful nation congratulates the
Führer on the eve of his 50th
anniversary as Reichs chancellor.
At 73, Hitler looks grandfatherly, his hair and toothbrush
moustache gone gray. His right hand is stuffed in his pocket.
His wife, EVA BRAUN, 50s, by his side.
NARRATOR (V.O.)
An era of strength and prosperity
such as the world has never known.
Genres:
["Historical","Drama"]
Ratings
Scene
2 -
A Tense Passage
1 INT. MOVIE THEATRE - NIGHT 1 1*
JOE BLAKE, late 20s, sits in the crowd. He checks his watch,
on edge, having a hard time focusing on the screen, where --
ANGLE - THE COLOR NEWSREEL
Shows SOLDIERS firing Karabiners, TANKS crushing walls.
Luftwaffe PLANES strafe cities, buildings ABLAZE --
NARRATOR (V.O.)
The Führer’s iron will was forged
by six years of bloody world war --
ATOMIC MUSHROOM CLOUDS explode, leaving CITIES as VAST RUINS,
littered with THOUSANDS OF CORPSES --
NARRATOR (V.O.)
-- ending with deployment of the
Heisenberg device.
Solemn SURRENDER CEREMONIES --
NARRATOR (V.O.)
Our enemies vanquished, the Führer
determined to build a better
world...
(CONTINUED)
1 CONTINUED: 1
COLOR FILM of JEWS rounded up, shops broken and burned.
HEROIC MUSIC stirs --
NARRATOR (V.O.)
A world cleansed of Jews, gypsies,
homosexuals and cripples...
OFFICE CLERKS in skyscrapers, FACTORY WORKERS at massive
assembly lines, FARMERS ploughing fields --
NARRATOR (V.O.)
A world united in common purpose.
All content in their work. All
looking toward a better future.
A MAN, 30s, slicked hair, sits beside Joe. He keeps his eyes
on the screen, passes Joe a SLIP OF PAPER. Music building --
NARRATOR (V.O.)
The Third Reich, the greatest
industrial and agricultural force
in history.
Joe picks up an overnight bag, starts out. Behind him, a NAZI *
EAGLE fills the screen.
NARRATOR (V.O.)
Heil, Hitler!
CUT TO: *
2 INT. THEATRE - LOBBY - NIGHT 1 2*
Vaulted ceilings, ornate scrollwork. A MAN wipes the candy *
counter while a CIGARETTE GIRL, tray around her neck and *
fishnet stockings, picks at her red nails, bored. *
The sound of a cartoon spills from inside the theatre as Joe *
makes his way past. He’s anxious, but tries not to show it. *
He doesn’t want to attract attention. *
CUT TO: *
Genres:
["Drama","Historical","War"]
Ratings
Scene
3 -
Secrets in the Shadows
3 EXT. THEATRE - NIGHT 1 3*
The marquee advertises The Punch Party, a remake of a frothy *
Nazi comedy starring Rock Hudson and June Allyson. *
Joe steps out, makes sure no one’s watching. Then reaches for *
the slip of paper. An AMERICAN EAGLE stamped on one side. On *
the other, the words “Lariat Manager, 4112 East Montauk.” *
(CONTINUED)
3 CONTINUED: 3
Joe tucks the paper back in his pocket, then runs across the
street, dodging CHECKER CABS. Only now we see we’re in -- *
TIMES SQUARE. GIANT NEON BILLBOARDS pulse and strobe. But *
instead of ads for Coca-Cola and Camels, an enormous SWASTIKA
and signs bearing NAZI SLOGANS:
Work Is Freedom... Productive Capitalism... Strength Through *
Happiness... The Common Good Before the Private Good. *
A LEGEND reads: Nazi-Occupied New York City, 1962.
As Joe disappears down a subway entrance --
CUT TO:
A WOMAN stares at camera, sweat beaded on her brow, eyes
fierce and focused. This is JULIANA CRAIN, late 20s. We’re:
4 INT. DOJO - DAY 1 4*
Juliana stands opposite a BEEFY JAPANESE MAN, both in aikido
dress. STUDENTS line the mat. A moment before battle, then --
The Beefy Man LUNGES at Juliana -- she deflects -- grabs his
wrist -- sends him TUMBLING on his ass.
We TRACK past the other students. All Japanese, all men in
their 30s and 40s. All frowning, clearly rooting for the
Beefy Man to beat this female upstart, except --
A skinny TEENAGER, who stares at Juliana, adoring, and --
NAKAMURA, the instructor’s shomen, watching impassively.
Beefy Man gets back on his feet, ready for another try. In
CUTS -- he reaches for Juliana -- she JABS his chest --
THROWS HIM -- flips him over. Again. And AGAIN. AND AGAIN.
Nakamura stands, ends the match. The Teenager sees the other
men’s dismay. Nakamura kneels to Beefy Man, on his knees.
NAKAMURA
You alright?
Beefy Man nods, winded. Nakamura smiles, good-natured.
NAKAMURA (CONT’D)
Only your ego is bruised. This is
the beauty of aikido. It is not
about harming your opponent. It
does not attack, it defends.
(CONTINUED)
4 CONTINUED: 4
He directs Beefy Man back to his place at the mat’s edge.
NAKAMURA (CONT’D)
It requires skill, not strength, to
turn an opponent’s aggression
against him. That is how a woman
can defeat a man twice her size.
He smiles at Juliana, who smiles back, modest but pleased.
TIME CUT TO:
Class over, Juliana packs her gear. She feels the glares of
the other students, ignores them. The Teenager approaches.
TEENAGER
Miss Crain, congratulations.
JULIANA
Thank you, Doni. You can call me
Juliana, you know.
She hooks a necklace with a delicate heart-shaped PENDANT.
DONI
Your necklace. It’s very lovely.
JULIANA
Thanks. My boyfriend made it.
DONI
(trace of disappointment)
Ah. Is he an artist?
JULIANA
He used to be.
Mustering his courage --
DONI
Juliana... Would you -- would you
allow me to buy you some tea?
JULIANA
I can’t. My mother’s expecting me.
(sees his disappointment)
How about tomorrow? Before class? *
Off Doni’s smile --
5 EXT. STREET - DAY 1 5*
Juliana, bag over her shoulder, walks out of the dojo. Passes
RICKSHAWS, JAPANESE SOLDIERS, SIGNS IN KANJI, and A BANNER *
being hoisted, Welcome H.I.H. the Crown Prince and Princess. *
As Juliana walks, CAMERA RISES UP, revealing -- the San *
Francisco SKYLINE, the Golden Gate Bridge spanning the bay. A
LEGEND reads: Japanese-Occupied San Francisco.
Genres:
["Drama","Action"]
Ratings
Scene
5 -
Navigating Suspicion
6 EXT. BROOKLYN STREET - NIGHT 1 6*
A seedy neighborhood in East New York. An ELEVATED MONORAIL *
glides past, the skyscrapers of Manhattan beyond. Joe exits *
the station, glances at the slip of paper.
A SIGN confirms this is Montauk Avenue. He looks down the
block, sees “Lariat Shipping & Moving.” He heads toward it, *
passing --
GESTAPO OFFICERS questioning a MAN, examining his identity
papers under a street light. One officer -- BALD, prominent
HOOKED NOSE -- eyes Joe. Joe averts his gaze, keeps going.
As he pulls open the door to Lariat Shipping -- *
7 INT. LARIAT SHIPPING - NIGHT 1 7*
Whirr of power tools, hiss of a blow torch. It’s busy even at
this hour, MECHANICS working on long-haul trucks.
A man points Joe to an office on the second floor. Joe passes
another MECHANIC, 30s, muscled with PRISON TATS. He glances
at him, then goes back to work --
8 INT. LARIAT SHIPPING - OFFICE - NIGHT 1 8*
Joe knocks on the half-open door, then steps inside. Sees a
MAN facing the window.
JOE
Are you the manager? Mr. Warren?
DON WARREN, 50s, unshaven, doesn’t turn. He’s facing a bank *
of black & white SURVEILLANCE MONITORS. One of them, he sees *
the Gestapo Officers questioning the Man on the street. *
WARREN
Yeah.
(CONTINUED)
8 CONTINUED: 8
JOE
I’m Joe Blake.
WARREN
So?
JOE
I was told you have a job.
WARREN
And who told you that, Joe Blake?
Joe smiles, polite, nervous.
JOE
I didn’t get his name. Just this.
Joe sets down the paper. Warren turns, sees it on his desk.
Studies the American eagle symbol. Then looks at Joe.
WARREN
So this is what they send me now.
How old are you, 28?
JOE
WARREN
27. What the hell you doing here,
Joe Blake?
JOE
I... I want my country back.
WARREN
You want it back? You never had it.
JOE
Sir?
WARREN
You were still sucking your thumb
when they dropped the bomb. This
shit hole’s the only country you’ve
ever known.
JOE
My father told me what it was like.
Before the war, I mean.
Joe takes out a Zippo lighter, ignites the paper.
(CONTINUED)
8 CONTINUED: (2) 8
WARREN
Your father, huh.
JOE
He said every man was free.
The paper consumed by flames. Warren drops it in an ashtray.
WARREN
How do I know you’re not a spy?
JOE
A spy...?
Warren taps a German cigarette out of a pack.
WARREN
The Resistance -- what’s left of it
-- is shot through with them. Half
my friends are dead. Guess that’s
why they’re down to kids like you.
JOE
I’m not a spy.
Joe lights the cigarette. Breathes out a stream of smoke.
WARREN
You know what those brownshirts out
there would do if they caught you?
JOE
I’m not afraid to die.
WARREN
Me, either. Might be kind of a
relief actually. But how you feel
about pain?
JOE
Pain...
WARREN
Yeah, when they’re plucking your *
fingernails out one by one. Or *
cracking your balls open like *
walnuts. That’s when maybe you stop
caring what your old man said and *
tell Johnny Jackboot out there my
name, just about anything else he
wants.
(CONTINUED)
8 CONTINUED: (3) 8
JOE
You’re so afraid, why are you here?
WARREN
I fought in the war, kid. I saw my
buddies’ brains get blown out on
Virginia Beach. You... you’re just
a punk who could get me caught.
Joe thinks. After a beat --
JOE
I guess I am afraid of pain. I
don’t have any buddies who died in
the war, and I don’t really know
what freedom is. But I’m not a punk
and I’m not a spy, Mr. Warren. I’m
here because I want to do the right
thing. So you going to give me the
job or not?
Warren exhales smoke. Thinking.
CUT TO:
9 OMITTED 9*
Genres:
["Drama","Thriller"]
Ratings
Scene
7 -
Sisters in Secrets
10 INT. HERBAL SHOP - DAY 1 10 *
Shelves lined with Chinese herbs in glass jars and boxes. *
Japanese foot traffic, signage outside the shop window. A *
BELL rings as Juliana enters. An old lady HERBALIST nods.
HERBALIST
Konnichiwa.
JULIANA
Konnichiwa.
(consults a list)
I need some gentian root and
meadowsweet...
HERBALIST
(broken English)
For you?
The BELL rings.
WOMAN’S VOICE
Jules...
Juliana sees her half-sister, TRUDY WALKER, mid 20s, hurrying
in, breathless -- *
(CONTINUED)
10 CONTINUED: 10
TRUDY JULIANA *
(to Juliana) (to the Herbalist) *
I’ve been looking for you -- No, for my mother. My mother * *
has arthritis.
HERBALIST
Arthritis... One moment please.
The Herbalist goes to the back room. Juliana turns to Trudy,
surprised to see her.
JULIANA
Trudy? You’re back?
Trudy always has a reckless, Bohemian air, but especially
today. She looks over her shoulder, as if expecting someone.
TRUDY
I’m not staying -- and don’t tell
Mom. I don’t want the guilt thing. *
JULIANA
Where you been? I’ve been trying to
reach you for weeks.
TRUDY
Sorry, I had work out of town.
JULIANA
(surprised)
You got a job?
Trudy knows she’s been flakey. Proud but insecure --
TRUDY
Yeah, me. Can you believe it?
Juliana tries to hide her skepticism.
JULIANA
‘Course I can. What... what is it?
Trudy senses her doubt. It stings, but she doesn’t blame
Juliana, just tries to blow past it --
TRUDY
I’ll explain later. I -- I’ve got *
to go. *
JULIANA
That’s what you came to tell me? *
Hello and goodbye? *
(CONTINUED)
10 CONTINUED: (2) 10
Trudy stops, sighs. There’s so much she’d like to say. But so *
little she can. *
TRUDY *
You always looked after me, sis. *
But... you don’t need to any more. *
Juliana smiles, confused -- and a little worried. *
JULIANA *
Oh yeah? Why is that? *
TRUDY *
I found... the reason. *
She’s excited, thinks Juliana will understand what this *
means. But it only seems like more of Trudy’s wacky talk. *
JULIANA *
The reason...? *
TRUDY *
(huge smile) *
For everything. *
Trudy pulls Juliana into a hug. With deep emotion -- *
TRUDY (CONT’D)
Take care of yourself, sis. *
Trudy makes a quick smile, starts out. Leaving Juliana even *
more concerned -- *
JULIANA
Trudy...? *
But now she’s gone, and the Herbalist has returned. *
HERBALIST *
Gentian root and meadowsweet. Six *
yen. *
She sets down the herbs, neatly bundled in little brown paper- *
wrapped packets. Juliana reluctantly takes out her money. Her *
mind still on Trudy -- *
JULIANA *
Domo arigatou. *
Genres:
["Drama","Family"]
Ratings
Scene
8 -
Mission Briefing in the Shadows
11 INT. LARIAT SHIPPING - NIGHT 1 11 *
Tattooed Mechanic bolts a tire on a car, raised on a lift.
(CONTINUED)
11 CONTINUED: 11
MAN’S VOICE
Doc!
He turns. Sees Warren outside his office, beckoning him. The
mechanic, DOC, wipes his hands on a rag --
CUT TO:
12 INT. LARIAT SHIPPING - OFFICE - NIGHT 1 12 *
Doc spreads flat a MAP across the desk. Joe leans in. It
shows the United States divided into sectors --
The Greater Nazi Reich occupies the country from the East
through the Midwest. The Japanese Pacific States control the
West, the Rocky Mountains acting as a Neutral Zone between.
Doc traces a path from New York to Cañon City, Colorado.
DOC
You’ll take the autobahn all the
way across the Reich, stopping
here. Cañon City. *
JOE
That’s the neutral zone. *
DOC
(to Warren)
So he can read a map, too?
JOE
What am I going to do there?
WARREN
You wait. Your contact will
approach you if and when he
determines it’s safe.
JOE
And if he doesn’t?
WARREN
Then the Nazis are onto you. You’re
dead.
Doc hands him an ENVELOPE.
JOE
What’s this?
(CONTINUED)
12 CONTINUED: 12
DOC
Benzedrine. You get sleepy on the
road, pop some. No stopping.
Joe looks at the little WHITE PILLS inside.
JOE
These why he calls you “Doc?”
DOC
(to Warren)
Woo-ee, this kid’s fast. *
JOE
You can talk to me, you know. I’m
in the room.
Doc smirks. Warren hands him a .45-caliber REVOLVER.
WARREN
Know how to use one of these?
JOE
What do I need that for?
WARREN
Any luck, you don’t. You know how
to use it or not?
Joe takes the gun, tucks it under his jacket.
JOE
I’ve seen the movies. Point. Shoot.
PRELAP A TRAILER GATE RATTLING SHUT, then CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
9 -
Chaos at Lariat Shipping
13 INT. LARIAT SHIPPING - NIGHT 1 13 *
A SEMI TRUCK with a 16-foot trailer. Doc locks it as Warren
walks Joe to the cab.
JOE
What’s my cargo?
DOC
Good German coffee makers.
JOE
That’s not what I meant.
Doc looks to Warren.
(CONTINUED)
13 CONTINUED: 13
WARREN
You heard what curiosity did to the
cat? Coffee makers. Now get going.
Joe tosses his overnight bag into the cab of the truck, sits
behind the wheel. Turning over the engine.
JOE
See you when I get back?
WARREN
You’ll never see us again. That’s
the way it works. Take care, kid. *
Joe looks at Doc and Warren, sees their gruffness for what it
is -- cover, a way of not getting too close. Underneath it
all these are good men. When --
WHISTLES. Garage doors RATTLE OPEN -- KLIEG LIGHTS BLARE --
GESTAPO stream in -- German Shepherd DOGS BARKING -- A RAID.
Some Mechanics RUN, others raise hands in surrender. Doc
pulls out a WALTHER PPK, hidden in his waist -- starts
SHOOTING -- Warren shouts at Joe --
WARREN (CONT’D)
Drive! GO!
Instead Joe raises his gun, AIMS IT AT WARREN -- FIRES! But
the bullet doesn’t hit Warren, it hits --
The HOOKED-NOSED OFFICER, behind Warren, about to shoot him.
He falls, BLOOD smearing concrete. Warren turns back to Joe.
WARREN (CONT’D)
Get the hell out of here!
Joe SHIFTS in reverse -- TIRES screech, truck barrelling away *
from us as Doc steps close in frame, SHOOTING PAST CAMERA, *
then turning. He and Warren running to the back, as -- *
Genres:
["Drama","Thriller"]
Ratings
Scene
10 -
Escape and Capture
A14 EXT. LARIAT SHIPPING - ALLEY - NIGHT 1 A14 *
Joe FISHTAILS on the road, Gestapo DIVING out of the way -- *
ANGLE - BACK ALLEY *
Warren and Doc burst out, Warren running one way, Doc the *
other -- Gestapo follow, letting DOGS OFF THEIR LEASHES --
(CONTINUED)
A14 CONTINUED: A14
Doc scrambles over a fence, ESCAPING, but -- Warren runs,
huffing and puffing for his life, DOGS GAINING, then --
JUMPING ON HIM -- BITING his arms and legs -- Warren
BLEEDING, HELPLESS --
INSIDE THE TRUCK - JOE
Looks in his rear view mirror, sees Lariat growing smaller *
behind him -- HE’S LOST THE GESTAPO. He lets out a sigh, as -- *
B14 INT. LARIAT SHIPPING - NIGHT 1 B14 *
An Officer drags Warren, torn and bloody, back in the garage. *
OFFICER #1
Obergruppenführer Smith.
Hearing his name, JOHN SMITH, 40s, Brylcreemed hair, turns to *
face us. Tall with dark eyes and cold intelligence. *
His rank is German, but like all the Nazis here, Smith is *
American-born, speaks unaccented English. He looks at Warren, *
satisfied. Then turns to an AIDE, returning from the street. *
SMITH
And the truck?
AIDE
Gone.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
11 -
Tensions in Tea
14 INT. APARTMENT - SAN FRANCISCO - EVENING 1 14 *
Modest, second-hand feel. Juliana is at the stove, pouring
tea made from the gentian root she bought at the herbalist.
Her mother, ANNE CRAIN WALKER, sits in the living room, a
game show on TV (”I’ve Got a Secret,” a celebrity guest in
Nazi uniform). Her stepfather, ARNOLD WALKER, reads a paper,
the headline about the Japanese Crown Prince’s visit.
ANNE *
Ugh, those uniforms... I can’t *
stand to watch. *
ARNOLD *
So change it. *
ANNE *
Then I won’t find out his secret! *
(CONTINUED)
14 CONTINUED: 14
JULIANA
(bringing the tea)
Here you go.
ANNE *
What’s this? *
JULIANA *
It’s from the herbalist. *
ANNE *
The Jap herbalist. *
ANNE drinks the tea but still grumbles. *
ANNE (CONT’D) *
Jap tea, Jap karate... *
JULIANA
It’s not karate, it’s aikido. I was
first in class today, Ma.
ANNE
I don’t know why you love the Japs *
so much. They killed your father. *
JULIANA *
C’mon, Ma. Mr. Nakamura’s one of *
the good guys. *
ANNE *
They marched my poor John to his
death. Now his own daughter thinks *
they’re the good guys? *
ARNOLD *
Exercise is good for her, Anne. *
After the accident and all. *
ANNE
Your father’s spinning in his
grave, I tell you that.
This hurts Juliana, but she doesn’t want to argue.
JULIANA
I have to go.
ANNE
Go? You just got here.
(CONTINUED)
14 CONTINUED: (2) 14
JULIANA
(kisses Anne’s cheek)
Frank’s waiting. *
ARNOLD
I’ll get your coat.
JULIANA *
Sayonara, mamasan... *
Anne purses her lips. Arnold goes to the door, holds up *
Juliana’s coat. Juliana speaks out of earshot of her mother. *
JULIANA (CONT’D)
I saw Trudy this afternoon.
ARNOLD
Where’d she disappear to?
JULIANA
She said she got some kind of job.
ARNOLD
Oh brother. Why can’t my own
daughter be more like you?
Juliana feels defensive of her sister. Despite her own
skepticism. Maybe because of it.
JULIANA
She seemed good. Really. *
Arnold makes a “don’t hold your breath” face. Then --
ARNOLD
Your mother has a point, you know.
About the aikido.
JULIANA
I thought you were on my side.
ARNOLD
I’m always on your side. But the
Japs make the rules, not us. And it
doesn’t look right, a white woman
studying yellow ways.
JULIANA
This has nothing to do with race.
ARNOLD
Oh no? How many white people in
your class?
(CONTINUED)
14 CONTINUED: (3) 14
Juliana frowns. Then goes.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
12 -
Silent Pursuit
15 EXT. STREET - SAN FRANCISCO - EVENING 1 15 *
A CABLE CAR climbs up a hill, Japanese Rice-a-Roni (the “San *
Francisco treat”) advertised on the rear panel. The street is *
lightly trafficked with pedestrians. Into frame steps -- *
TRUDY *
A BLACK SATCHEL over her shoulder, she looks apprehensive as *
she stops, surveils the scene -- *
JAPANESE SOLDIERS patrol nearby. Two JAPANESE MEN, in suits, *
loiter in an adjacent park, smoking. The coast seems clear.
Gathering her nerve, Trudy heads toward -- *
THE PORT *
HUGE CARGO SHIPS lit by mercury vapor lights, MEN with bare *
chests unloading CRATES and CONTAINERS. *
RESUME - TRUDY *
Approaching. But as she does, the Japanese Men start to *
calmly FOLLOW from a distance. They’re SECRET POLICE. The *
Japanese Soldiers falling in line. Unseen by Trudy. *
16 OMITTED 16 *
Genres:
["Drama","Thriller"]
Ratings
Scene
13 -
A Dangerous Exchange
17 EXT. THE PORT - EVENING 1 17 *
A BEARDED MAN, 20s, thin, sees Trudy coming. He’s been *
hauling crates, but now he stops, wipes his hands with a rag. *
Moves inside one of the cargo holds. Trudy follows him -- *
ANGLE - CARGO HOLD *
Dark, lit by only a few bare bulbs. The Bearded Man quickly *
pulls on a shirt, buttons and tucks it in. Trudy enters -- *
TRUDY *
Randall...? *
The Bearded Man/RANDALL goes to her, kisses her. *
RANDALL *
You OK? *
Trudy nods, trying to be brave. *
(CONTINUED)
17 CONTINUED: 17
TRUDY *
I’m OK. *
He pulls out an IDENTICAL BLACK SATCHEL hidden behind a *
crate. Exchanges it with the one she’s been holding. *
TRUDY (CONT’D) *
This is it? *
RANDALL *
That’s it. See you tomorrow. *
The words won’t come -- she’s too scared. She manages a nod. *
RANDALL (CONT’D) *
I love you, you know that? *
TRUDY *
(smiles) *
I know. *
RANDALL *
Better get going. *
Trudy takes the satchel, heads off. Randall going the other *
way as -- *
ANGLE - THE SECRET POLICEMEN *
Enter the cargo hold. Find it EMPTY. The Man in charge wears *
WIRE FRAME GLASSES. Gives orders to the others in Japanese. *
As they split up -- *
ANGLE - TRUDY *
Moves past the ships, a view of Alcatraz Island beyond. She *
sees Japanese Soldiers coming after her, DUCKS OUT OF VIEW. *
ANGLE - THE JAPANESE SOLDIERS *
Pass. Only after they’re gone do we find -- Trudy, hiding out *
of sight. As she moves off in the OTHER DIRECTION -- *
18 OMITTED 18 *
Genres:
["Drama","Thriller"]
Ratings
Scene
14 -
A Night of Unspoken Tensions
19 INT. BAR - SAN FRANCISCO - NIGHT 1 19
FRANK FRINK, 30s, nurses a beer, watching color TV showing *
the Crown Prince boarding an ocean liner in Tokyo, as -- *
Juliana enters. Frank stands, kisses her. To the Bartender: *
(CONTINUED)
19 CONTINUED: 19
JULIANA *
Sake cocktail. Where’s Ed? *
FRANK *
He’s coming. You alright? *
JULIANA *
Fine. *
She’s not. Frank can tell. *
FRANK *
What’s the matter, Jules? *
Juliana thinks about denying it. Then sighs. *
JULIANA
My mom. She says Dad’s spinning in *
his grave. Because I’m studying the
“evil ways of the yellow man.” And
Arnold agrees with her.
FRANK
Of course he does. *
JULIANA *
Aikido has nothing to do with the *
men who killed my father. It’s so *
beautiful -- it’s... the opposite *
of those men. *
Juliana’s cocktail arrives. She sighs. *
JULIANA (CONT’D) *
I can’t believe how screwed up the *
world is. *
FRANK *
‘Twas ever thus. And ever thus it *
shall be. *
JULIANA *
I don’t believe that. I don’t *
believe you do, either. *
FRANK *
I’m just a worker bee, doll. I *
don’t know what to believe. *
JULIANA *
You’re an artist, Frank. A really *
good one. You should be making art. *
(CONTINUED)
19 CONTINUED: (2) 19
FRANK *
Yeah, well, they won the war. And *
they think modern art’s degenerate. *
(beat, ironic humor) *
At least we have each other. *
JULIANA *
Yeah, and what are we supposed to *
do with us? *
FRANK *
Well, now you’re back on your feet? *
You could get a job. And then... *
get married, have kids... *
Juliana’s smile fades. Gently -- *
JULIANA
You really want to raise kids in a *
world like this? *
FRANK
Somebody has to. *
JULIANA *
(looks around, quiet) *
If anyone found out your *
grandfather was a Jew... *
Frank nods, exhales. *
FRANK *
Didn’t stop Laura. *
Juliana slides away her drink. *
JULIANA *
I’m getting a headache. Mind if I *
go home? *
FRANK *
I’ll go with you. *
JULIANA *
You stay, wait for Ed. *
She musters a smile, kisses him. He watches her go. But he’s *
concerned.
Genres:
["Drama","Romance"]
Ratings
Scene
15 -
A Way Out
20 EXT. STREET - SAN FRANCISCO - NIGHT 1 20 *
Juliana bites her lip, lost in her own troubled thoughts.
Approaching the steps to her apartment, when --
TRUDY (O.S.)
Juliana --
She turns, sees Trudy running toward her. She’s breathless,
eyes frightened.
JULIANA
Trudy? I thought you were leaving -- *
She presses the BLACK SATCHEL into her hands.
TRUDY
Take this.
JULIANA
What is it?
Trudy looks over her shoulder.
TRUDY
Get inside. Quick --
JULIANA
Trudy? What is this? *
Trudy meets her eyes --
TRUDY
A way out.
Then runs off. Juliana now sees the Japanese Men and Soldiers
down the street, chasing Trudy. Juliana ducks back into her
alcove, out of their line of vision.
JAPANESE MAN
Yamete! Stop!
Trudy keeps sprinting as fast as she can, rounds the corner.
As the Japanese Men and the Soldiers charge past Juliana --
ANGLE - TRUDY
Turns, but this is a DEAD END. No place for her to run or
hide. She turns as one the Soldiers stops, RAISES HIS RIFLE.
Terror in her eyes --
CLOSE - JULIANA
(CONTINUED)
20 CONTINUED: 20
Steps out of the alcove, moving to follow. When -- BLAM! She
hears a GUNSHOT. Her heart rises in her throat, chest
thumping hard. She runs round the corner, then stops, covers
her mouth, stifling a cry. Eyes wide with horror, as --
THE JAPANESE MEN
Approach Trudy’s body, lying in the middle of the street. A
gaping bloody hole in the center of her back.
The Wire-Frame Man rolls her over with his shoe. Trudy’s eyes *
stare up at him, LIFELESS.
The Wire-Frame Man scans the area, looking for something.
Tersely giving orders to the Soldiers.
ANGLE - JULIANA
Looks from the Wire-Frame Man to the black satchel in her
hands. Knows THIS IS WHAT HE’S LOOKING FOR. As she turns,
hurries back to her apartment. Shakily keys her door.
21 INT. FRANK & JULIANA’S APARTMENT - NIGHT 1 21 *
Juliana bolts the door. Reeling from shock. Then, with
trembling hands, she unsnaps the satchel. An object wrapped
in torn sheets of Manga comics. She rips them open, finds --
A REEL OF 16MM FILM
At the center of the spool, someone has hand-written the
words, The Grasshopper Lies Heavy.
Juliana stares, confused at what this means -- what her
sister was doing with it -- and why it’s worth dying for.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
16 -
A Night on the Run
22 EXT. AUTOBAHN - LATE NIGHT 1 22 *
A ribbon of high-speed traffic, headlights spoking into the
rural night. As Joe’s SEMI grows close, PASSING CAMERA --
23 INT. SEMI TRUCK - LATE NIGHT 1 23 *
Joe behind the wheel, turning from one news station to
another on the radio. Listening for a report on him. When --
A POLICE SIREN
(CONTINUED)
23 CONTINUED: 23
Sounds. Joe looks in his rear-view mirror. Sees RED LIGHTS
FLASHING. A police car gaining on him.
CLOSE - JOE
Swallows, his heart rising in his throat. He takes his foot
off the gas pedal, but doesn’t brake. Not certain yet whether
the siren is for him. When --
THE POLICE CAR PASSES. In pursuit of another vehicle. Joe
lets out a ragged sigh. Then clicks off the radio.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
17 -
Interrogation at Rikers
24 EXT. RIKERS ISLAND - LATE NIGHT 1 24 *
RAIN pours down. A TUGBOAT slices through the East River,
docks. Obergruppenführer Smith, the Gestapo Officer from the
raid, exits. Flanked by an AIDE.
The Aide holds an umbrella, but Smith walks through the rain.
Toward the massive jail complex, ringed by razor wire.
25 INT. RIKERS ISLAND - LATE NIGHT 1 25 *
CLOSE on BLACK LEATHER BOOTS. Smith moving down a long, dark
hall. Guards stand at attention, giving the Nazi salute.
CUT TO:
26 INT. RIKERS ISLAND - CELL - LATE NIGHT 1 26 *
Don Warren hangs from the ceiling in chains, wrists tied
behind his back. He is shirtless, a GUARD beating his chest
with a stick wrapped in barbed wire.
The Guard stops, seeing Smith enter. Smith examines Warren’s
injuries. Face BRUISED and CUT, his chest a mass of BLOODY
WOUNDS. Smith reaches for a dirty RAG, dips it in a bucket.
He squeezes some water into Warren’s mouth, who laps it up.
SMITH
There, there... that better?
He gently wipes some of the blood off Warren’s face.
SMITH (CONT’D)
You are a mess, Mr. Warren. This
will end badly for you.
(CONTINUED)
26 CONTINUED: 26
WARREN
Didn’t start too good.
SMITH
Where was that truck headed?
WARREN
Alabama.
SMITH
Alabama...
Smith looks to an Aide, sharing a knowing look.
WARREN
Birmingham. I told your friend
here.
SMITH
And the cargo?
WARREN *
Coffee makers.
Smith smiles.
SMITH
Your men shoot at us to keep us
from intercepting... coffee makers?
WARREN
They’re stolen. He didn’t want to
go to jail.
SMITH
You’re the Resistance leader for
East New York, Mr. Warren. We’ve
known it for a month now. Ever
since we intercepted one of these --
Smith produces a paper. The printed AMERICAN EAGLE on it.
SMITH (CONT’D)
This is the symbol of your
movement, is it not?
Warren says nothing. But his silence confirms it.
SMITH (CONT’D)
We know where that truck was
headed. And what it was carrying.
(CONTINUED)
26 CONTINUED: (2) 26
WARREN
You know so much, what do you want
with me?
But Smith just nods to the Guard -- he can resume his
torture. Seeing Smith start to leave --
WARREN (CONT’D)
What do you want?!
Smith walks out of the room, down the hall. Warren shouting
after him as we hear the beating resume.
WARREN (CONT’D)
WHAT DO YOU WANT?!
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Shadows of Dread
27 INT. FRANK & JULIANA’S APARTMENT - NIGHT 1 27 *
A closet opens. Juliana searches behind the clothes, finds
several CANS of HOME MOVIES, OLD CARTOONS, then -- a heavy
CASE. She unsnaps it. Revealing a 16mm PROJECTOR.
Juliana threads Trudy’s reel of film through the sprockets.
Then pulls down a window shade. Switches on the projector,
the beam of light catching dust motes floating in the air.
The room silent except for the whir of the projector. We see *
SCRATCHY FILM LEADER, but before the film proper begins we go *
CLOSE ON JULIANA. Shadows play across her face. She stares, *
confused. And DISTURBED -- *
A28 INT. BAR - NIGHT 1 A28 *
Frank sits as ED McCARTHY, 30s, glasses, enters, points to *
color footage of Hitler greeting smiling children on the TV. *
ED *
You see that, Frank? *
(to the Bartender) *
Weizen beer. *
FRANK *
See what? *
ED *
(as he sits) *
Mr. Hitler’s right hand. *
(CONTINUED)
A28 CONTINUED: A28
FRANK *
What about it? *
ED *
It’s in his pocket. You know why? *
FRANK *
So he can play with his balls, *
‘cause nobody else will? *
ED *
The old bastard’s got Parkinson’s! *
His hand shakes like shit. How much *
longer you think he’s got? *
The PHONE behind the bar rings. The Bartender answers. *
FRANK *
I don’t know. A year. *
ED *
Six months, tops -- then Goebbels *
or Himmler takes over and this time *
they won’t just flatten D.C. with *
the H-bomb. They’ll wipe out the *
whole west coast. Boom. *
BARTENDER *
(to Frank) *
Is your name Frank? *
FRANK *
Yeah. *
BARTENDER *
Then this is for you. *
He sets the phone down on the bar, goes off. Frank knows this *
can’t be good news if someone is tracking down here. *
FRANK *
Hello? *
INTERCUT: *
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
Urgent Whispers
B28 INT. JULIANA’S APARTMENT - NIGHT 1 B28 *
Juliana, speaking in an urgent whisper. *
JULIANA *
Frank, is Ed there? *
(CONTINUED)
B28 CONTINUED: B28
FRANK *
Yeah. *
JULIANA *
Don’t tell him where you’re going. *
Just come home now. *
FRANK *
What is it? *
JULIANA *
I’ll tell you when you get here. *
Ed’s beer comes. Frank hangs up, thinking. Reading his face -- *
ED *
Something wrong? *
FRANK *
I’ve got to go. *
ED *
You shittin’ me? I just got here. *
Frank leaves some yen notes. *
FRANK *
See you at work. *
Frank hurries out, Ed shaking his head, exasperated, as he *
sips his beer. PRELAP KNOCKING -- *
Genres:
["Drama","Thriller"]
Ratings
Scene
20 -
Forbidden Truths
C28 INT. JULIANA’S APARTMENT - NIGHT 1 C28 *
Juliana unchains the door. Seeing the worry in her eyes -- *
FRANK *
Jules? What? *
Juliana closes, chains the door. Crossing to the projector. *
JULIANA *
Hit the lights. I want you to watch *
something. *
FRANK *
OK... *
Frank flicks the switch, the room going dark. Juliana turns *
on the projector, Frank watching -- *
(CONTINUED)
C28 CONTINUED: C28
Silent BLACK & WHITE FOOTAGE from World War II. But very *
different from the color film we saw in the Nazi newsreel.
American troops land on D-Day... the Allies liberate Paris... *
Berlin lies in ruins... GIs cheering, kissing girls in Times *
Square, celebrating V-E Day... *
FRANK (CONT’D)
What is this?
JULIANA
Newsreel film.
FRANK
Yeah, I see that. *
JULIANA
It shows us winning the war.
FRANK
But we didn’t win the war.
JULIANA *
That’s what they told us. *
She has a defiant edge. But Frank looks back at the film -- *
FRANK
Jesus, I know what this is.
JULIANA
What?
FRANK
The Man in the High Castle.
JULIANA
The who?
FRANK
The Man in the High Castle. I don’t
know why they call him that, but Ed *
told me all about him. He makes *
these anti-fascist movies.
JULIANA
(indicates the screen)
‘Makes’ them? GIs? In Times Square? *
FRANK
I know they look real... *
(CONTINUED)
C28 CONTINUED: (2) C28
JULIANA
“Look” real? They are real, Frank. *
FRANK *
But they can’t be, can they? *
Juliana has no explanation as -- the film runs out, its tail *
flapping wildly. Frank clicks off the projector. *
FRANK (CONT’D)
Listen, whatever these films are? *
Ed says Hitler himself is obsessed *
with destroying them. *
JULIANA
Why, if they’re just stupid movies? *
FRANK
Point is, possessing them is *
treason. Punishable by death. How *
did you get these? *
Juliana looks down. Then, quiet --
JULIANA
Trudy gave them to me. *
FRANK
Trudy? What’s she doing with this? *
JULIANA
I don’t know. *
(a beat, then... quiet) *
She’s dead. *
FRANK
(shocked)
What?
JULIANA
They shot her.
(fighting emotion)
On the street.
The enormity of this lands on Frank. He stands, stunned. Then *
takes Juliana in his arms. Kisses the top of her head. *
FRANK
I’m... so sorry. *
Frank pulls back, meets her eyes. Tender but emphatic. *
(CONTINUED)
C28 CONTINUED: (3) C28
FRANK (CONT’D)
You have to go to the police. *
JULIANA
The police are the ones who shot
her --
FRANK
You have to say you weren’t close,
she was only your half-sister --
JULIANA
No --
FRANK
-- you didn’t know what she gave
you. You’re a loyal subject and
will cooperate fully.
JULIANA
Trudy died for this, Frank --
FRANK
They have to think you know nothing *
about this. Or they’ll kill you, *
too.
(beat)
You think Trudy would want that?
Off Juliana --
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
The Hidden Threat
28 INT. SEMI TRUCK - MOVING - LATE NIGHT 1 28 *
Joe rubs his eyes, driving, then sees --
A MAKESHIFT CHECKPOINT *
On the autobahn up ahead. Nazi Officers with dogs SEARCHING
all vehicles. Joe thinks, then turns on his blinker, EXITING.
CUT TO:
SCS. 29 - 31 OMITTED (COMBINED WITH 32) *
32 INT./EXT. SEMI TRUCK - ROADSIDE - LATE NIGHT 1 32 *
Joe’s pulled to a stop on the shoulder. He keys open the *
trailer gate, finding it stacked high with CARDBOARD BOXES.
(CONTINUED)
32 CONTINUED: 32
TRAILER *
Joe snicks on a flashlight, cuts open one of the boxes. It’s
full of German coffee makers, just as Don Warren said.
He edges through the boxes, shining his flashlight on the
floor, the ceiling, looking for something. He SIGHS,
frustrated. Then spots -- a low-rise “creeper” DOLLY.
UNDERCARRIAGE *
Joe wheels himself underneath on the dolly, inspecting the
undercarriage. Tapping on pipes. Still finding nothing. When
he notices -- masking tape, stuck in a rectangle.
He peels back the tape, revealing -- a METAL COMPARTMENT,
screwed shut underneath.
Joe sets down the flashlight, takes an Army Knife from his *
pocket. Opening the compartment. Finding a MANILA ENVELOPE.
CAB *
Joe sits behind the wheel, unclasps the envelope. Wrapped in
Nazi newspapers, he finds --
A ROLL OF 16MM FILM
Not identical, but similar to Juliana’s. But like hers,
someone has written The Grasshopper Lies Heavy on it.
Joe stares at it, thinking.
CUT TO:
33 EXT. CHECKPOINT - LATE NIGHT 1 33 *
Joe rolls to a stop. Takes TRAVEL PERMITS from the glovebox.
Waiting while Officers search. Masking his anxiety.
CUT TO:
34 OMITTED 34 *
35 OMITTED 35 *
Genres:
["Drama","Thriller","Sci-Fi"]
Ratings
Scene
22 -
Cultural Tensions at the Nazi Embassy
36 EXT. NAZI EMBASSY - SAN FRANCISCO - DAY 2 36 *
The Federal Reserve building, festooned with Nazi banners. A
plaque identifies the “Embassy of the Greater Nazi Reich.”
37 INT. NAZI EMBASSY - DAY 2 37 *
A high-ceilinged room. A heroic-style portrait of Hitler.
HUGO REISS, 40s, trim, is the Nazi Ambassador. He and his
aide, SS Officer KURT SCAUSCH, 30s, in conference with --
TAGOMI, 50s, head of the Japanese Trade Mission, and his *
associate, KOTOMICHI, 30s, thin. Both Tagomi and Kotomichi
immaculately dressed in tailored suits.
They stand over blueprints, tiny PLASTIC FIGURES representing
Nazi Officers, members of the Japanese delegation.
REISS
-- and then I will escort the Crown
Prince and Princess into this room,
where we will take tea.
Tagomi frowns, looks to Kotomichi. Reiss shares a look with
Scausch.
SCAUSCH
Is there a problem, Mr. Tagomi?
TAGOMI
We’re very sorry, but the furniture
in this room. It is not appropriate
for the Crown Prince and Princess.
REISS
Trade Minister, I assure you these *
are very fine pieces -- the same as
the Führer has in Berlin.
Tagomi bites his lip. Deeply embarrassed. Reiss privately
gives Scausch another ‘what the fuck?’ look.
SCAUSCH
We’re happy to replace it, of
course. If you’ll send us
information on the proper pieces.
Tagomi is relieved.
TAGOMI
Yes. Thank you. *
(then, to Reiss) *
(MORE)
(CONTINUED)
37 CONTINUED: 37
TAGOMI (CONT'D)
Thank you, Ambassador. These are *
excellent plans.
REISS
We’re deeply honored to receive
the Crown Prince and Princess as
guests here at the Embassy.
KOTOMICHI
It is an harmonious expression of
the friendship between the German
and Japanese peoples.
REISS
Indeed.
An awkward moment. Tagomi and Kotomichi bow. The two Nazis
reply with salutes. After the Japanese have gone --
REISS (CONT’D)
What the hell was that about?
SCAUSCH
The furniture doesn’t have chi.
REISS
Chi?
SCAUSCH
One of the five great elements. It *
comes from the Chinese. They *
believe there’s a spirit in things,
bringing good or bad luck.
REISS
Superstitious slant-eyed crap. I
don’t understand why the Führer
allowed these people to rule half
the continent.
SCAUSCH
“Allowed.” But for how much longer?
Reiss smiles.
Genres:
["Drama","Historical","Political"]
Ratings
Scene
23 -
Ominous Portents
38 EXT. NAZI EMBASSY - DAY 2 38 *
Tagomi and Kotomichi walk down steps to a waiting Mercedes
LIMOUSINE.
KOTOMICHI
The Nazi ambassador has disdain. *
(CONTINUED)
38 CONTINUED: 38
TAGOMI
He only understands a world he can *
see.
KOTOMICHI
You seem troubled, Trade Minister. *
TAGOMI
It is a time of great uncertainty,
Mr. Kotomichi. The Führer is said
to be very ill.
KOTOMICHI
Surely his successor will continue
a policy of peaceful cohabitation.
TAGOMI
I consulted the oracle. The reply
was the twelfth pentagram.
KOTOMICHI
“Danger, pay attention.”
Tagomi nods, climbs in the limousine. As Kotomichi follows,
troubled now as well --
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
Secrets and Departures
39 INT. FRANK & JULIANA’S APARTMENT - BEDROOM - DAY 2 39 *
Frank knots his necktie, then stops. Staring at a DRAFTING
TABLE in the corner, scattered with painted canvases, pastel *
sketches and various art supplies. Frank goes to the table, *
fishes out some hand-drawn JEWELRY DESIGNS. *
He thinks for a beat. Then picks up the designs, stuffs them
in a GREEN PORTFOLIO.
CUT TO:
40 INT. FRANK & JULIANA’S APARTMENT - KITCHEN - DAY 2 40 *
Juliana sits at the table, staring at -- Trudy’s satchel. *
After a moment, she picks it up. Searches inside, finds an *
ENVELOPE. She pulls out the paper inside as Frank enters -- *
FRANK *
You sleep? *
JULIANA *
Not much. *
(CONTINUED)
40 CONTINUED: 40
FRANK *
(re: the envelope) *
What’s that?
JULIANA
A ticket. For the 10:30 bus. *
FRANK
(reads it)
Cañon City, Colorado...
JULIANA
Trudy told me she was going out of
town. On the back, she wrote
something.
FRANK
What’s it say?
JULIANA
It’s in pencil -- it’s kind of
smudged. Looks like Sunrise
Diner... 12: 5.
FRANK
Five minutes after 12?
JULIANA
I guess.
FRANK
Maybe she was supposed to take the *
film there... *
JULIANA
She told me she got a job.
FRANK
Never would’ve pegged Trudy as a
Resistance fighter. C’mon. *
JULIANA *
What? *
FRANK *
I’ll take you to the police *
station. *
JULIANA *
You’re not coming with me. *
FRANK *
Why not? *
(CONTINUED)
40 CONTINUED: (2) 40
JULIANA *
The last thing you need’s trouble *
with the police, Frank. The less we *
make of this, the better. *
FRANK *
I still think I should go -- *
JULIANA *
Not a chance. I’ll take it. Then *
I’ll go tell Mom what happened. And *
Arnold. *
FRANK *
I’m so sorry, Jules. *
Juliana looks at him, emotion rising. *
JULIANA *
I don’t know what I would’ve done *
without you, Frank. After the *
accident... You picked me up, *
literally got me on my feet -- *
FRANK *
Nobody could keep you down for *
long, Jules. Not even a bus. I just *
happened to be standing there. *
She kisses him. Frank makes a crooked smile. *
FRANK (CONT’D) *
You call me, OK? *
JULIANA *
I will. *
FRANK *
See you tonight. *
Juliana smiles, nods. *
JULIANA *
Yeah. *
Frank goes. Juliana stands in the empty apartment a moment, *
her brave face melting away now that he’s left. Then she *
turns, picks up the satchel. Stuffing the ticket back inside. *
CUT TO: *
BEDROOM *
Dresser drawers OPENED, EMPTIED. Clothes dumped in an *
OVERNIGHT BAG. *
Toiletries cleared from a shelf, tumbling in the bag. Juliana *
snaps it closed, swings the medicine cabinet shut. Then *
catches sight of her face in the mirror. *
She stares, reflecting on what she’s doing. Then brings her *
fingers to the PENDANT at her neck. She unclasps it, kisses *
it like a cross. *
CLOSE - THE PENDANT *
As Juliana sets it down on the dresser. Exits the room. *
CUT TO: *
A41 INT. FRANK & JULIANA’S APARTMENT A41 *
Juliana heads to the door, satchel and overnight bag in hand. *
When she stops. Another thought occurring to her -- *
CUT TO: *
The closet door is opened. Juliana kneels, opens the cans of *
old movies. Finds a POPEYE cartoon. She takes the film out of *
its can, tucks it under her coat. As she CLOSES THE DOOR -- *
CUT TO: *
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
A Tense Encounter
B41 EXT. FRANK & JULIANA’S APARTMENT B41 *
Juliana steps outside, then stops, surprised to see -- *
DONI *
The teenager from aikido, coming up her steps. *
JULIANA *
Doni...? *
DONI *
Miss Crain... You said tea this *
morning. *
JULIANA *
Yes, of course... *
(CONTINUED)
B41 CONTINUED: B41
Doni’s eyes drift to her open satchel. The FILM REEL marked *
The Grasshopper Lies Heavy plainly visible. Juliana quickly *
clutches it closed. *
JULIANA (CONT’D) *
I... I’m so sorry, I forgot I have *
an appointment. Can we do this *
another time? *
Doni looks worried. Does he know what the film means? *
DONI *
Yes... OK... *
JULIANA *
Thanks, Doni. *
Juliana hurries away, but Doni lingers, looking after her. *
His face unreadable. *
CUT TO: *
41 OMITTED 41 *
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
Tire Trouble and Tension
42 INT. SEMI TRUCK - DAY 2 42 *
“How Much Is That Doggie In the Window?” on the radio. Rural
countryside flies by outside the window. Joe’s been driving
all night. His eyes tired, he needs a shave. When -- *
KA-BAM! A TIRE BLOWS OUT. Joe, suddenly alert, GRIPS THE
WHEEL -- SWERVES -- the rig NEARLY SLIDING INTO A CULVERT
before Joe manages to regain control, SKID TO A STOP. *
43-45 OMITTED (SCS.43,45 COMBINED WITH SC. 46) 43-45 *
46 EXT. AUTOBAHN - DAY 2 46 *
Joe climbs from the cab. Sees the rear tire BLOWN TO SHREDS.
JOE
Shit.
He looks at the nothingness around.
Joe looks for tools to fix the tire, when -- the SOUND of a *
car pulling to a stop. As he turns --
(CONTINUED)
46 CONTINUED: 46
A NAZI POLICE CAR has rolled to a stop behind the truck. A *
uniformed POLICE OFFICER, 40s, gets out, looks at the blown
tire. Seeing Joe climb down from the payload --
POLICE OFFICER
Blow out, huh? *
JOE
Yup. And no tool kit. Not good. *
POLICE OFFICER
I’ve got one in the trunk. Let me
give you a hand.
JOE
Thanks, I really appreciate that.
The Police Officer heads back to his car. As he does, Joe
looks toward the cab of his truck. He’s left the envelope
with the 16mm film on the seat, IN PLAIN SIGHT.
TIME CUT TO: *
47 OMITTED 47 *
48 OMITTED 48 *
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Ashes on the Autobahn
49 EXT. AUTOBAHN - DAY 2 49 *
The truck jacked up. The Officer tightens the spare tire. On
his arm, Joe notices a military-style TATTOO -- a dagger
through a rose. He finishes, dusts himself off.
OFFICER
There you go.
JOE
Thanks a lot.
OFFICER
There’s no diners for another five
hours or so. Wife packed an extra
sandwich if you’re hungry.
JOE
You don’t mind?
OFFICER
Not at all. I’m going to need to
see your transit papers.
(CONTINUED)
49 CONTINUED: 49
JOE
Sure. No problem.
While the Officer heads back to his squad car, Joe climbs in
the cab, grabs the transit papers from the glovebox. Then
quickly tuck the envelope with the film reel under the seat.
He steps back onto the road as -- the Officer returns. Joe
exchanges the transit papers for a sandwich in wax paper.
OFFICER
Egg salad. Hope that’s OK.
JOE
Great.
The Officer inspects the papers. Writing particulars in a
pad.
OFFICER
This your first long haul?
JOE
How’d you know?
OFFICER
Not having a tool kit... that’s a
pretty rookie mistake.
Joe takes a bite of his sandwich.
JOE
Guess so. It’s my first time out of
New York, actually. First time
seeing the country.
OFFICER
(dry, unimpressed)
Well, here it is.
JOE
You mind I ask... the tattoo on
your arm.
OFFICER
A soldier so fierce he’d kill a
rose.
JOE
That was you?
(CONTINUED)
49 CONTINUED: (2) 49
OFFICER
Long time ago. But we lost, didn’t
we? Now I can’t even remember what
we fought for. Your dad a vet?
JOE
Yeah.
OFFICER
He must be proud. Fine young man
like you.
JOE
(shrugs, not really)
We’re not really close. But me
getting this job. It was pretty
important to him.
Joe notices some fine, flaky PARTICLES floating in the air.
JOE (CONT’D)
What’s that?
The Officer looks up, sees them, too.
OFFICER
The hospital.
JOE
The hospital?
OFFICER
Tuesdays, they burn cripples, the
terminally ill. Drag on the state,
you know.
The Officer hands back the transit papers.
OFFICER (CONT’D)
Have a safe trip, son. Make your
old man proud.
He heads back to his squad car. But Joe stares at the flecks
of gray ash in the sky. THOUSANDS of them. Some cling to the
bread on his sandwich. He can’t eat.
CUT TO:
50 OMITTED 50 *
51 OMITTED 51 *
52 OMITTED 52 *
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
A Dangerous Mission
53 EXT. STREET - TRANSBAY BUS TERMINAL - DAY 2 53 *
Juliana stops, takes the TICKET out of Trudy’s satchel. Looks
up at the Art Deco facade of the TRANSBAY BUS TERMINAL. Looks *
around to be sure she wasn’t followed.
54 INT. TRANSBAY BUS TERMINAL - DAY 2 54 *
Juliana moves through the terminal, crowded with people.
Noticing -- uniformed JAPANESE POLICE OFFICERS. Some are
posted near the departure gates, others question passengers.
She grips the satchel close to her chest --
MAN’S VOICE (O.S.)
Can I help you, Miss?
-- she’s nearly walked into a JAPANESE OFFICER.
JULIANA
(covering anxiety)
I -- I’m --
Just then --
MAN’S VOICE
Hey! There you are!
Juliana turns, sees -- RANDALL. Juliana covers her surprise, *
mindful of the Officer. As he takes her by the elbow --
JULIANA
(under her breath)
Who the hell are you? *
RANDALL *
I gave Trudy that satchel you’re
carrying. Where is she?
JULIANA
Dead. They shot her last night.
RANDALL *
Oh Jesus... *
Randall looks like he’s been punched in the stomach. Tries to *
maintain composure -- *
(CONTINUED)
54 CONTINUED: 54
JULIANA *
You the one who got her into this? *
RANDALL *
I suppose so. Who are you? *
JULIANA *
Her sister. Juliana. *
RANDALL *
Give me the film, Juliana. *
JULIANA *
I’m going in her place. *
RANDALL *
They’re expecting Trudy. Not you. *
JULIANA *
I’ll say I’m her. *
RANDALL *
No. Too dangerous. *
JULIANA *
So that’s it? She dies for nothing? *
RANDALL *
Not nothing. She died doing the *
right thing. *
JULIANA *
(heated) *
The “right thing?” You got to be *
fucking kidding. What do I do when *
I get there? *
Randall sees the Japanese Officer moving toward them. He *
takes Juliana by the elbow, leads her toward the bus. *
RANDALL *
You wait. *
JULIANA *
I wait? *
RANDALL *
They’ll come to you if it’s safe. *
They’ve reached the bus door. But there’s something Juliana *
still wants to know -- *
(CONTINUED)
54 CONTINUED: (2) 54
JULIANA *
This film. What does it mean? *
RANDALL *
If I knew? I wouldn’t tell you. *
That will have to do. Juliana starts up the steps. Randall *
walks past the Japanese Officer, avoiding his gaze. Off the *
Officer, unsure whether to be suspicious -- *
55 EXT./INT. BUS - DAY 2 55 *
Juliana makes her way down the aisle. For the first time, we
see the faces of BLACKS and HISPANICS, in nearly every seat.
A MIDDLE-AGED WOMAN, seated next to a large AFRICAN-AMERICAN
MAN, looks from Juliana, sitting across the aisle, out the
window to Randall, disappearing in the terminal. *
THE DRIVER
Closes the accordion door. Drives out of the station.
JULIANA
Looks out the window, clutching the satchel. In spite of it *
all, she’s scared to death. She looks up, sees a PLANE *
streaking across the sky --
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Diplomatic Arrival at Hirohito Airfield
56 EXT. SAN FRANCISCO HIROHITO AIRFIELD - DAY 2 56 *
A German V-9E “rocket” plane lands, taxis. (It looks much
like a Concorde SST, skinned with Nazi swastikas.)
ANGLE - THE TARMAC
Tagomi and Kotomichi, the trade officers, wait as stairs are
wheeled to the plane. Passengers deplane, among them --
VIKTOR BAYNES
A Swedish businessman, 40s, well-dressed. Tagomi and
Kotomichi step forward to greet him.
TAGOMI
Mr. Baynes, I am Nobusuke Tagomi.
BAYNES
Mr. Tagomi. Very kind of you to
meet me in person.
(CONTINUED)
56 CONTINUED: 56
TAGOMI
Trade relations with Sweden are
important to the Pacific States. My
associate, Mr. Kotomichi.
KOTOMICHI
How was your flight, Mr. Baynes?
BAYNES
New York to San Francisco in under
two hours.
TAGOMI
German technology is unparalleled.
We Japanese cannot hope to compete.
BAYNES
Technology is not the measure of a
great civilization.
Tagomi makes a small smile.
TAGOMI
Mr. Kotomichi will see to your
baggage. Please --
Kotomichi goes off. Tagomi indicates a Mercedes limousine.
CUT TO: *
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
30 -
Secrets in Motion
57 INT. MERCEDES LIMOUSINE - DAY 2 57 *
Baynes sits in back across from Tagomi, a PLEXIGLASS barrier
between them and the CHAUFFEUR. As the car starts moving --
TAGOMI
Forgive me, Captain, but I need to
confirm your identity.
Baynes reaches for a wallet.
BAYNES
Of course.
He hands Tagomi an SS document with his PHOTO, showing his
true identity is Nazi Captain RUDOLPH WEGENER.
TAGOMI
I have consulted the I Ching. The
oracle favors our meeting.
(CONTINUED)
57 CONTINUED: 57
BAYNES/WEGENER
Good to hear. Since both our
governments would execute us if
they knew we were talking.
TAGOMI
(returns document)
The man you are to meet will arrive
from Tokyo in two days’ time.
WEGENER
He is traveling with the Crown
Prince and Princess?
Tagomi nods.
TAGOMI
What news do you bring from Berlin?
WEGENER
The Führer’s health is poor.
Goebbels and Himmler are jockeying
for power.
TAGOMI
Neither seeks peace.
WEGENER
The Nazi State has the atomic bomb.
And while they deny it in public,
both men believe the partition of
the Americas was a mistake.
TAGOMI
Then there will be war.
WEGENER
Once the Führer dies... without
question. And this city will be one
of the first erased from the map.
(off his silence)
What are you so gloomy about, Mr.
Tagomi? You said the oracle favors
our meeting.
TAGOMI
Fate is fluid, Captain Wegener.
Destiny is in the hands of men.
A58 EXT. STREET - DAY 2 A58 *
As the limousine drives past, heading toward the city -- *
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Secrets in the Assembly Line
B58 INT. FACTORY - DAY 2 B58 *
A giant ASSEMBLY LINE, much like the one we saw in the Nazi *
newsreel. Machines stamp out METAL PARTS, hand-assembled by *
aproned WORKERS. Among them, we find -- *
FRANK, assembling replicas of old Colt. 45 revolvers, across *
from Ed. He does his job efficiently, but keeps looking up at *
the office overlooking the floor. Something on his mind. *
ED *
What happened last night? *
FRANK *
(distracted) *
Huh? *
ED *
The phone call at the bar. What was *
that about? *
FRANK *
Um, nothing. Cover for me, will *
you? *
ED *
OK. Sure. *
CUT TO: *
Genres:
["Drama","Thriller"]
Ratings
Scene
32 -
Creative Frustration
C58 INT. FACTORY - OFFICE - DAY 2 C58 *
WYNDAM MADSEN, 50s, small, paunchy, but vigorous, works at *
his desk. He hears a knock on his door, sees -- Frank. *
FRANK *
Mr. Madsen? *
MADSEN *
Yes, Frank. *
FRANK *
I’m just wondering... have you had *
a chance to look at the designs? *
(CONTINUED)
C58 CONTINUED: C58
MADSEN *
You just gave them to me this *
morning, Frank. *
FRANK *
Right. And? *
MADSEN *
And as it happens, I have looked at *
them. *
(holds up green portfolio) *
They’re quite beautiful. *
FRANK *
Thank you. *
MADSEN *
But degenerate, Frank. *
FRANK *
You just said they’re beautiful. *
How can jewelry be degenerate? *
MADSEN *
The Japs only want old-timey stuff, *
like those Colt .45s down there. *
Americana. *
FRANK *
No one’s actually tried selling *
them jewelry -- *
MADSEN *
And no one’s going to. Because no *
one wants to land in jail. C’mon, *
Frank, come back from fairy land. *
(beat) *
You’re a solid worker. You’ve got a *
solid job. Count your blessings. *
He holds up the portfolio. Frank takes it. Frustrated. *
CUT TO: *
D58 OMITTED D58 *
Genres:
["Drama"]
Ratings
Scene
33 -
Crossing into Danger
58 EXT. RURAL AUTOBAHN - DAY 2 58 *
The Greyhound BUS wipes through frame, heading toward the
Rockies.
59 INT. BUS - MOVING - DAY 2 59 *
Juliana checks her watch, looks out the window.
WOMAN’S VOICE (O.S.)
May I?
She looks up, sees the Middle-Aged Woman from before.
JULIANA
Sure.
She sits in the seat next to Juliana.
MIDDLE-AGED WOMAN
Guy next to me was snoring. I can
never sleep on buses, can you?
Juliana looks over. Sees the large African-American asleep.
MIDDLE-AGED WOMAN (CONT’D)
What brings you to the neutral
zone?
JULIANA
(a quick lie)
Just visiting a friend.
MIDDLE-AGED WOMAN
You must have some interesting
friends.
JULIANA
I don’t know what you mean.
MIDDLE-AGED WOMAN
You see any other white girls on
this bus? Look at ‘em all, darlin’.
Wrong color, wrong religion, wrong
bedmate... If the Nazis catch ‘em,
poof! Up in smoke they go. But the
Japs are happy to let ‘em scramble
out of the Pacific States. Hole up
in the Rocky Mountains, or run down
to South America if they like.
JULIANA
What’s it like? The neutral zone?
MIDDLE-AGED WOMAN
Ever seen those old Westerns the
Führer watches? It’s like that.
(MORE)
(CONTINUED)
59 CONTINUED: 59
MIDDLE-AGED WOMAN (CONT'D)
Lawless. Except for the Marshal, of *
course.
JULIANA
The Marshal?
MIDDLE-AGED WOMAN
This is your first time, isn’t it?
A Nazi agent. Hunts down enemies of
the Reich, strings ‘em up and burns
‘em alive. *
Juliana is horrified. But the Woman goes on, matter of fact. *
MIDDLE-AGED WOMAN (CONT’D)
Just about everybody in the neutral
zone’s got a gun and a secret.
JULIANA
What’s yours?
MIDDLE-AGED WOMAN
Fear of flying. I’m in the import-
export business. Katie Owens.
It’s said as a prompt.
JULIANA
(reluctant, then)
Trudy Walker.
Juliana turns, uncomfortable. There’s a SIGN out the window. *
It reads, in Japanese and English, “Now leaving the Japanese *
Pacific States.” *
CUT TO:
A SIGN, in German and English, “You are now leaving the *
Greater Nazi State.” We are:
60 EXT. NAZI CHECKPOINT - DAY 2 60 *
A line of cars and trucks approaching the gateway to the
neutral zone. CAMERA ADJUSTS to find Joe’s semi approaching -- *
A61 INT. SEMI TRUCK - DAY 2 A61 *
Joe looks at the checkpoint with dread. As he swallows, *
starts to pull over. PRELAP the ringing of a phone -- *
B61 INT. PHONE BOOTH - DAY 2 B61 *
Joe stands inside, truck parked beyond. He listens to the *
phone, ringing and ringing. Finally, he hangs up, frustrated. *
As he retrieves his coin, heads back to his truck -- *
CUT TO:
Genres:
["Dystopian","Thriller","Drama"]
Ratings
Scene
34 -
The Relentless Orders
61 INT. RIKERS ISLAND - CELL - DAY 2 61 *
Obergruppenführer Smith enters, finds Warren hanging from his
chains. Badly beaten, and unconscious. He turns to his Aide.
SMITH
Where is this man’s minder?
AIDE
I’ll find him, Obergruppenführer.
The Aide goes off. Leaving Smith alone with Warren. He
inspects his wounds, gently lifts his head, seeing the eyes
swollen shut, lips busted.
The Aide returns with the Guard, who gives a Nazi salute.
GUARD
Heil Hitler.
SMITH
Why was this man left unattended?
GUARD
The subject has lost consciousness,
Obergruppenführer.
SMITH
I can see that.
The Guard looks confused.
SMITH (CONT’D)
Your orders were to flog this
subject until he answered your
questions.
GUARD
Obergruppenführer, this subject
cannot wake up.
SMITH
Has he answered your questions?
(CONTINUED)
61 CONTINUED: 61
GUARD
(of course not)
No, Obergruppenführer...
SMITH
Then your orders are to keep
flogging him.
The Guard looks to the Aide, but his eyes show nothing.
SMITH (CONT’D)
You torture men, Sergeant. You have
a problem beating a man to death?
GUARD
No, Obergruppenführer.
SMITH
Then do as you’re told.
Smith goes off with his Aide. The Guard looks to Warren.
Reluctantly picks up the club with barbed wire.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Deception in the Hall
62 INT. RIKERS ISLAND - HALL - DAY 2 62 *
The Aide, ERICH RAEDER, walks at Smith’s side.
SMITH
You’re smiling, Erich.
RAEDER
The subject will die in captivity.
SMITH
That’s correct.
RAEDER
His body would only be so
disfigured if he refused to talk.
His friends in the Resistance will
conclude he told us nothing.
SMITH
They will conclude we don’t know
that truck is headed to Cañon City.
Or what it’s carrying.
RAEDER
I have much to learn from you,
Obergruppenführer.
(CONTINUED)
62 CONTINUED: 62
Now it’s Smith who smiles.
CUT TO:
63 OMITTED 63 *
Genres:
["Drama","Thriller"]
Ratings
Scene
36 -
A Night of Worry
64 INT. FRANK & JULIANA’S APARTMENT - NIGHT 2 64 *
Frank enters, sets down the portfolio.
FRANK
Jules!
He goes to the kitchen, opens the fridge. Pulls the tab on a
can of beer. He takes a swallow, then --
FRANK (CONT’D)
Jules?!
Getting no answer, he walks across the living room to the
bedroom. Finding it EMPTY, too. But he now notices -- the *
heart PENDANT on the dresser. Frank picks it up. *
FRANK (CONT’D) *
Oh Jesus... *
Off Frank, his rising concern -- *
CUT TO:
65 OMITTED 65 *
Genres:
["Drama","Mystery"]
Ratings
Scene
37 -
Theft and Secrets
66 INT. BUS - NIGHT 2 66 *
Juliana slumped against the glass, asleep. When her eyes *
flutter open, noticing -- *
The BUS HAS STOPPED. It’s been parked for awhile -- several *
people move down the aisle, back toward their seats. Juliana *
sees Katie is no longer beside her, then looks -- *
HER POV - THROUGH THE WINDOW *
Katie walks toward an AFRICAN-AMERICAN MAN in a rusted-out *
OLD CAR. On her arm -- JULIANA’S BLACK SATCHEL. *
CLOSE - JULIANA *
(CONTINUED)
66 CONTINUED: 66
Alarm rising in her throat. She taps on the glass, tries to *
draw Katie’s attention, insistent but not loud -- she has to *
be careful not to attract attention. *
But Katie hears her tapping, looks at her. Her expression *
IMPASSIVE. She had to play the role of Chatty Cathy before -- *
but she’s really a thief and no longer tries to hide it. *
Juliana rises. Struggles past the people going the other way. *
Making it to the front just as the Driver closes the door -- *
JULIANA *
Wait! *
BUS DRIVER *
(firm, bored) *
Bus is leaving. *
JULIANA *
I... I left something out there. *
The Driver pulls open the accordion door. *
BUS DRIVER *
Go get it. Bus the bus is leaving. *
Juliana looks from the Driver to outside the door. The car *
with Katie and the African-American Man is driving off. *
Juliana starts back toward her seat. The Driver pulls closed *
the door, satisfied. Puts the bus in gear. *
ANGLE - JULIANA *
Sits. Then pulls a reel of film from under her coat, wrapped *
in manga comics and labelled The Grasshopper Lies Heavy. She *
lost all her belongings. But she had the film the whole time. *
67 OMITTED 67 *
68 EXT. RURAL ROAD - NIGHT 2 68 *
As the BUS WIPES PAST FRAME, driving on into the night -- *
CUT TO: *
69 EXT. MOTEL/INT. TRUCK - CAÑON CITY - NIGHT 2 69 *
Joe’s truck pulls to a stop outside, the buzzing NEON SIGN
reflected in the windshield.
(CONTINUED)
69 CONTINUED: 69
He reaches for his overnight bag. Pulls the envelope with the
film reel from the steering column. Stuffs it in his bag. *
PRELAP the sound of URGENT KNOCKING, then -- *
70 OMITTED 70 *
71 OMITTED 71 *
Genres:
["Drama","Thriller"]
Ratings
Scene
38 -
A Night of Intrusion
72 INT. FRANK & JULIANA’S APARTMENT - NIGHT 2 72 *
Frank pulls on a robe. The KNOCKING continues. *
FRANK *
Coming! *
Frank goes to the PEEPHOLE, sees -- *
POV - WIRE-FRAME MAN *
Stands outside with Plainclothes Man and two Soldiers. *
RESUME - FRANK *
He swallows, then unlatches the door. *
WIRE-FRAME MAN *
Mr. Frink? *
FRANK *
Yes? *
WIRE-FRAME MAN *
Inspector Kido. *
Wire-Frame Man/INSPECTOR KIDO shows his ID, steps inside. The *
Soldiers move past Frank, begin searching the place. *
FRANK *
What’s going on? *
KIDO *
You cohabit this apartment with a *
Miss Juliana Crain, do you not? *
FRANK *
Yes. *
KIDO *
Where is Miss Crain? *
(CONTINUED)
72 CONTINUED: 72
FRANK *
I don’t know... She left early this *
morning. Aikido practice. *
KIDO *
Aikido practice? *
FRANK *
The dojo on Mission Street. *
Kido exchanges a look with the other man. *
KIDO *
Were you aware her half-sister, *
Miss Trudy Walker, was engaged in *
treasonous activity? *
FRANK *
I didn’t really keep in touch with *
her. Neither did Juliana. *
The Soldiers have finished their search. *
KIDO *
This is a national security matter, *
Mr. Frink. The penalties for *
perjury are severe. *
FRANK *
I’m telling the truth. *
KIDO *
I hope so. *
He lets himself out with the others. Frank leans against the *
shut door, relieved -- for now... *
CUT TO:
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
39 -
Desperate Measures
73 EXT. STREET - EARLY MORNING 3 73 *
A BUS wipes frame, revealing --
JULIANA
Standing on the sidewalk. A dusty main street, “Welcome to
Cañon City” sign arching across the road. The Sunrise Diner
down the block.
CUT TO:
74 INT. SUNRISE DINER - EARLY MORNING 3 74 *
Juliana finishes breakfast. She reaches for her purse to pay
the check. Then remembers her WALLET IS GONE.
She bites her lip. Looks at the lanky BARMAN, 40s. Thinking.
ANGLE - THE BARMAN
Toothpick in his mouth. Juliana approaches.
JULIANA
I’m so sorry, but I can’t pay for
breakfast.
The Barman gives her a long-suffering look.
BARMAN
You what?
JULIANA
Someone stole my wallet, all my
money. I’m really sorry.
BARMAN
This ain’t a charity, lady.
JULIANA
I know... I’m really embarrassed.
BARMAN
How you going to pay me?
JULIANA
I told you, I can’t.
BARMAN
Wrong answer. How you going to pay
me?
Juliana looks at the window. A “Waitress Wanted” sign.
JULIANA
I... I guess I could work for it.
He looks from the sign back to Juliana.
BARMAN
You have any experience?
JULIANA
I learn fast.
(CONTINUED)
74 CONTINUED: 74
He sighs.
BARMAN
What’s your name?
Juliana hesitates. Then --
JULIANA
Trudy. Trudy Walker.
BARMAN
Alright, Trudy. Grab yourself an
apron.
JULIANA
What, right now?
BARMAN
You got anything better to do? *
PRELAP the sound of a PHONE RINGING -- *
75 EXT. SUNRISE DINER - EARLY MORNING 3 75 *
Juliana at a PAY PHONE, listening to it ring. *
JULIANA *
(under her breath) *
C’mon, Frank... I gotta talk... *
INTERCUT -- *
76 INT. FRANK & JULIANA’S APARTMENT - EARLY MORNING 3 76 *
Frank at the window, coffee in hand as he watches KIDO *
conferring with a SECRET POLICEMAN on the sidewalk below. He *
listens to the phone ringing. Moves toward it. *
FRANK *
(under his breath) *
They’re bugging the line. You can’t *
call me, Jules. *
As he YANKS THE CORD FROM THE WALL -- *
77 OMITTED 77 *
Genres:
["Drama","Thriller"]
Ratings
Scene
40 -
A Meeting in the Diner
78 INT. SUNRISE DINER - DAY 3 78 *
Joe enters, walks past the counter, noticing a MAN WITH A *
LINED FACE, 50s, poring over a book as he eats. Joe takes a *
seat in a booth. *
The Barman gives a prompting look to Juliana, still tying on *
an apron. She grabs a coffee pot, hurries to Joe’s table -- *
JULIANA *
Coffee? *
Joe meets her eyes. Smiles. *
JOE *
Yes, please. How many eggs you got *
back there? *
JULIANA *
(pouring coffee) *
I don’t know. Plenty. *
JOE *
Good. Bring me a a whole plateful. *
Over easy. *
JULIANA *
OK. *
JOE *
And a bunch of bacon. *
JULIANA *
Coming right up. *
She starts off, stopped by -- *
JOE *
Hey, you ever been to New York? *
JULIANA *
Never. Why? *
JOE *
You look familiar. I could swear *
I’ve met you before. *
JULIANA *
I can swear you haven’t. *
Joe watches Juliana’s figure as she walks off. Attracted to *
her. Then looks to the Lined-Face Man. Wondering if he’s the *
man he’s here to meet. *
79 OMITTED 79 *
80 OMITTED 80 *
Genres:
["Drama","Mystery"]
Ratings
Scene
41 -
Suspicion and Shadows
81 EXT. SUNRISE DINER - DAY 3 81 *
Juliana steps outside, surprised to find Joe waiting for her. *
JOE *
You off work? *
JULIANA *
For now. *
JOE
Can I buy you a drink?
From behind his back, he holds up two LONG-NECK BEERS. *
JOE (CONT’D) *
(smiles)
Still think I know you from
somewhere...
Off Juliana, wondering if this could be Trudy’s contact -- *
CUT TO:
82 EXT. MAIN STREET - CAÑON CITY - DAY 3 82 *
Juliana sits on a wall with Joe, beers in hand -- *
JOE
You’re not wearing a name tag. *
JULIANA
I’m... Trudy. *
JOE
Trudy. Pleased to meet you. Joe. *
Joe offers his hand, playfully formal. As they shake -- *
INTERCUT:
83 EXT. LARIAT SHIPPING - DAY 3 83 *
An unmarked van lurches to a stop, engine idling. Something
is thrown on the sidewalk. The van screeches off. DOC steps
out. Turns over -- DON WARREN’S DISFIGURED CORPSE. *
JOE
How long you been in Cañon City,
Trudy?
JULIANA
Just got here, as a matter of fact.
How about you?
JOE
I’m just passing through. That
truck over there’s mine.
84 EXT. STREET - SAN FRANCISCO - DAY 3 84 *
Randall hurries past bleachers and bunting, in place for the *
visit of the Crown Prince and Princess. Sees Japanese POLICE
OFFICERS following him. Passes --
Rudolph Wegener who steps outside a hotel, lights up a
cigarette. Thinking. *
JULIANA
You seem kind of young for a truck
driver.
JOE
My first run. I’ll head back to New
York after delivery.
Juliana stares at Joe. Trying to decide who he is --
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
42 -
Tensions and Doubts
85 INT. OFFICE - SAN FRANCISCO - DAY 3 85 *
Tagomi at his desk, throwing yarrow stalks to consult the I
Ching. He looks at the divination, frowns, while --
A86 EXT. STREET - SAN FRANCISCO - DAY 3 A86 *
Randall rounds a corner to escape the Officers. Runs right *
into MORE OFFICERS. Blocking his way. Off Randall, CAUGHT -- *
(CONTINUED)
A86 CONTINUED: A86
JULIANA
You... you weren’t looking for
anyone named Trudy, were you?
JOE
No...
JULIANA
This is just... You really just
wanted a beer? *
JOE
Yeah, why? Is that so weird?
Juliana shakes her head, disappointed.
JULIANA
No. Guess not.
Genres:
["Drama","Mystery"]
Ratings
Scene
43 -
Betrayal and Capture
86 INT. FRANK & JULIANA’S APARTMENT - DAY 3 86 *
A knock on Frank's door. Frank opens -- is ROUGHLY GRABBED by
Soldiers. BEATEN and HANDCUFFED. Dragged outside.
Joe remembers something, looks at his watch. *
JOE
Aw, crud. *
JULIANA *
What? *
JOE *
Be right back. *
As he sets down his beer, Juliana watching him go -- *
87 EXT. FRANK & JULIANA’S APARTMENT - DAY 3 87 *
Doni, the Teenage Boy from the dojo, stands beside Inspector
Kido. Face bruised, he looks at Frank with guilty eyes -- he
told Kido about the satchel Juliana was carrying. Frank is
dragged inside the back of a van, doors SLAMMED SHUT --
Genres:
["Drama","Thriller"]
Ratings
Scene
44 -
Urgent Call at Sunrise Diner
A88 EXT. SUNRISE DINER - DAY 3 A88 *
Joe in a phone booth, listens to the PHONE ringing, then *
connect. *
(CONTINUED)
A88 CONTINUED: A88
MAN (O.S.)
You’re late.
JOE
I tried calling before.
MAN (O.S.)
I’m relieved to hear your voice. *
JOE
Me, too. You died pretty good back *
there -- *
CUT TO:
Genres:
["Thriller","Mystery"]
Ratings
Scene
45 -
Betrayal at Rikers Island
88 INT. RIKERS ISLAND - HALL - DAY 3 88 *
The Man on the other end of the line turns to camera -- it’s
the BALD, HOOK-NOSED GESTAPO OFFICER -- the man we saw Joe
shoot and kill at the garage. Not dead after all.
JOE
Thought maybe I used the wrong gun. *
The Officer smiles, hands the phone to Obergruppenführer *
Smith.
SMITH
How was your journey?
JOE
No one stopped me.
SMITH
Then your cover’s intact. Our
little show has persuaded the
Resistance you’re one of them. *
I’ll tell your father, Joe. I know
he’ll be proud. *
JOE
Thank you, Obergruppenführer. I
hope so.
SMITH
Heil, Hitler.
Joe looks through the glass, at Juliana waiting for him down *
the street. Turns his face away. *
JOE
Heil, Hitler.
(CONTINUED)