The Debt Page #17

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.

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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.

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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.

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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 herdressing table. Stephan is dressing behind her.

STEPHAN:

(Calmly)

F*** him.

He examines his reflection in the mirror.

F*** him.

STEPHAN:

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.

*

*

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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 f*** 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 *

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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. *

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