The Debt Page #9

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-sovery-

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.

Rate this script:4.0 / 1 vote