The Debt Page #22

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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.

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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.

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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.

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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:

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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.

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