PORT BOU © (Screenplay)

8/3/2019 PORT BOU (Screenplay)

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Port Bou

Screenplay byDick Croy & Vincent Brook

Story by

Victor Palfi

Word & Image Agency9413 Southgate Dr.Cincinnati, OH 45241(513) 600-4042

[email protected]


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PORT BOU 1

PORT BOU

FADE IN:

EXT. DAY PRAGUE, AUGUST 1939

A palatial Baroque mansion stands out among eleganttownhouses in a fashionably decaying neighborhood. AMozart violin sonata is HEARD.

INT. DAY BEDROOM

ALEXANDER SYNEK, handsome, tall for 13, is practicingthe sonata in his ornately furnished room when he isinterrupted by MARTHA, one of his familys numerousservants. She is a middle-aged spinster in a longblack dress with a white apron and bonnet.

MARTHAYour father wants to see you,in the library.

Alexander, offended by the interruption and arrogantby nature toward the servants, gives her an icy look,repeats a passage, then pencils in a note to himselfon the sheet music.


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PORT BOU 3

INT. LIBRARY

PRINCE VACLAV SYNEK, Alexanders father, is on thephone.

PRINCE SYNEKJawohl. Danke vielmals. Wirsprechen spter. Wiederhren.[Yes indeed. Many thanks. Wellspeak later. Good bye.]

He hangs up and looks at Alexander and Martha frombehind his massive uncluttered desk.

PRINCE SYNEKThank you, Martha.

She exits.PRINCE SYNEK (contd)

Sit down, Alexander. I have totalk to you.

He sits down in a baldachin, a baroque canopiedarmchair, facing the desk. His tall, thin elegantly-dressed fathers commanding gaze is directed at himthrough rimless pince-nez on a long patrician nose.

PRINCE SYNEK (contd)

This summer we will not go toIschia or on any other trip. Onlyyour mother knows what Im aboutto tell you.

Alexanders respect for his father is compelling.

PRINCE SYNEK (contd)Miss Edwards has gone back toEngland. She is afraid of theNazis as is everyone else forthat matter. No English orFrench governess will take aposition in this part of Europe.But I dont want my sonseducation to suffer because of

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PRINCE SYNEK (CONTD)these gangsters and their NewOrder. So I have managed to getyou a new governess. She is

German

ALEXANDERGerman? You just called themgangsters!

PRINCE SYNEKI havent finished. She was bornand schooled in Germany, but sheis Jewish, from an old, veryrespectable Jewish family.

ALEXANDERShes Jewish?

PRINCE SYNEKShe is a German-Jewish refugee.Jews in Germany have been deprivedof their citizenship. She had toflee the country that has been herfamilys home for generations.

Prince Synek unfolds a fresh handkerchief and cleans

his glasses, eyeing his son sharply.

PRINCE SYNEK (contd)Frulein Rachel Moss was an honorstudent at the University ofCologne, with a degree in

musicology. She has impeccablemanners, and everything about heris first-rate. She can teach youlanguages, history, mathematics anything you care to learn,including German of course.Because the day will come whenthese criminals will be behindbars and the German language willbe respectable again. I have takenher into our home


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PORT BOU 5

ALEXANDERShe is already here?

PRINCE SYNEK

For her own protection. In thiscountry as everywhere else, theNazis have stirred up anti-Semiticfeelings. Listen to me carefully.I want her to feel secure in myhouse, as though she were part ofthe family. As long as she livesin my custody nothing will happento her. Now, I know you are roughon the servants and your tutors.No more of that! You are 13, oldenough to behave like a gentleman,not like an ill-mannered schoolboy.Frulein Moss is a lady, and you

will have to be her knight, hersquire. You will have to obey herinstantly. But most important, noone is to know shes Jewish,except for Martha and Ottokar.

ALEXANDERMartha? She can know?

PRINCE SYNEKBut none of the other servants,and absolutely no one on theoutside. Is that clear?

ALEXANDERY-yes of course, Father.

PRINCE SYNEKThe young ladys true name isBacher, but I have had a passport

made out for her in the name ofMoss.....So, can I rely on yourchivalry and your discretion?

ALEXANDERYou can.


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PORT BOU 6

Prince Synek comes around his desk and shakes hissons hand. Alexander is too befuddled to speak. ThePrince returns to his desk and rings a bell.

PRINCE SYNEKWhen Frulein Moss enters youare to stand and bow to her inthe proper manner.

There is a knock on the door. Alexander springs fromhis chair and stands at attention.

PRINCE SYNEKEnter!

The door is opened by FRANZ, a middle-aged servant.

FRANZFrulein Moss.

RACHEL (BACHER) MOSS, a petite dark-haired beauty of21 who looks much younger, enters and curtsies.

Alexander is stunned.

PRINCE SYNEKFrulein Moss, I have thepleasure of introducing you to

my son, Alexander. I entrustyou with his guardianship.

Barely mastering his emotions, Alexander approachesher and bows; Rachel curtsies, this time to him.

PRINCE SYNEK (contd)Show Frulein Moss your room andyour schoolwork.

ALEXANDER(to Rachel)

May I?

RACHEL(uncertainly at first)

Yesss...yes please do.


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PORT BOU 7

Alexander bows to his father, Rachel curtsies, andAlexander opens the door for her. As she exits, hegives his father a look of mixed emotions amazementreassurance, confusion and closes the door.

INT. DAY CORRIDOR

Walking down the hallway together, Alexander steals aglance at Rachel, who smiles gently in return.

ADULT ALEXANDER (V.O.)That was the beginning. Asboth my tutor and music teacher,Rachel and I became nearlyinseparable, under the virtualhouse arrest my father hadimposed after withdrawing mefrom school. She was my world.Over time, I dared to dream I

might become Rachels as well.

INT. DAY - ALEXANDERS ROOM

These arent the history lessons he endured in school.

ALEXANDER(reading book)Friedrich der Grosse?

INSERT ILLUSTRATION

ALEXANDER (contd V.O.)He doesnt look so big to me.

BACK TO SCENERACHEL

Grosse means great, as inimpressive, not large in size.

As in Alexander the Great.

ALEXANDERAh, now I understand.


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PORT BOU 8

RACHELIll tell you what would bereally great, Alexander: ifyou started taking your

lessons more seriously.

He dutifully looks back at the book

RACHELSo then, the next of theHohenzollern to assume thePrussian throne was...?

INT. NIGHT MANSION PARLOR

Rachel accompanies Alexanders violin playing on thepiano. When he stumbles over a passage, she takes theviolin and plays the passage perfectly.

ALEXANDERThats great, Rachel impressive, I mean. Is thereanything you dont do?

RACHELPut up with naughty boys.

ALEXANDERYou cant be talking about me.

RACHELThen lets hear you play thatpassage as youre capable, notjust the notes but with feeling.

When he stumbles again Rachel puts her arms around himto adjust his bowing position, producing a staticshock when they make contact. Rachel pulls away with astart.

ALEXANDERAre you okay?


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PORT BOU 9

RACHEL(flustered)

Just a static shock.

Cautiously this time, she readjusts his arm and handposition again. Their eyes briefly make contact; asubtle romantic flicker is exchanged.

EXT. DAY CENTRAL COURTYARD

A Gypsy plays a violin, another a hand-organ forRachel and Alexander, listening from a balcony. Whentheyre finished Alexander tosses coins which a Gypsy

woman tries to catch in a hat. Rachel is shocked.

RACHELAlexander!

ALEXANDERWhat? You didnt like their music?

RACHELAn arrogant gesture like that isno way to show appreciation.

ALEXANDER

Theyre herefor the money.

RACHELBut wouldnt have handingit tothem in the courtyard been moregentlemanly? Or do you reallythink theyre beneath you?

Alexander is considering this as they leave thebalcony and enter the...

INT. SYNEK MANSION

...where FRAU SYNEK, Alexanders mother, a beautifulwoman in her mid-30s, hurries past instructing Marthaand Franz, another of the servants.


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PORT BOU 10

FRAU SYNEKFranz, please tell Otto to ordera roast for tomorrow night

were having guests and, Martha,

I noticed that some of thebouquets have wilted. Could youplease have the gardener gatherfresh ones?

She turns to her son with an adoring smile which iscut short by an expression of fear. Rachel and

Alexander follow her eyes.

EXT. - COURTYARD DRIVEWAY

Herr Synek bows politely to a Nazi officer gettinginto the rear of a military vehicle. When the cardrives away, Herr Synek turns and hurries away.

BACK TO SCENEALEXANDER

(to his mother)What was that all about?

She pretends not to hear as she hurriedly leaves the

foyer with the servants.

ALEXANDERWhats going on, Rachel?

RACHELJust a formality, Im sure. Yourfather has everything under control.

EXT. DAY MANSION GARDEN

Rachel sits with Goethes Faust as Alexander paces infront of her, reciting from it. Autumn leaves fallaround them.


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PORT BOU 11

ALEXANDERTwo souls, alas, are dwelling in

my breast, and one is striving tobe separate from the other. One

holds, with sensual, passionatedesire, fast to the world, withclinging...

He glances at Rachel for assistance.

RACHELOrgans, as in sense organs.

ALEXANDER...with clinging organs.The other rises strong fromearthly mist, to the etherealrealms of high ancestral spirit.

RACHELSehr gut. Now what does it mean?

ALEXANDERI guess, that were kind oflike...two people, in one. Orat least we have two sides toour nature.

As he continues, the CAMERA RISES to provide a viewover the ivy-covered wall separating them from therest of the bustling city - where, in the distance, wesee military vehicles and soldiers in the streets.

ALEXANDER (contd O.S.)...One is physical, tied toour senses. The other is...

A German Messerschmittpasses overhead, drowning outAlexanders words.

INT. - LIBRARY

Prince Synek, looking out the window, glances from the


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PORT BOU 12

fighter plane to Alexander and Rachel in the garden,then to the RADIO hes been listening to.

RADIO ANNOUNCER (V.O.)

...While its government refusesto surrender, Polands militarydefeat is all but assured. Itsterritory is now completelyoverrun by German and Sovietforces, with the two nationspoised to carve up Polishterritory between them.

EXT. - GARDEN POV PRINCE SYNEK

RADIO ANNOUNCER (V.O. contd)Meanwhile, Britain and France,

which declared war against Germanyafter the Nazi Blitzkrieg a monthago but have offered little inthe way of counteraction since,...

INT. - LIBRARY

The princes face is suffused with pain as he gazes athis son.

RADIO ANNOUNCER (V.O. contd)...seem similarly paralyzed bythis latest development.

INT. NIGHT MANSION LIVING ROOM

A large tree adorned with candles on a snowy ChristmasEve. Rachel on piano and Alexander, violin, play thepiece they were practicing earlier, he with assuranceand fervor lacking before. Alexanders parents listenappreciatively, applauding at the conclusion, along

with Martha, who is serving coffee and pastry.

PRINCE SYNEKBravo! Excellent. What abeautiful gift to us all!


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PORT BOU 15

Annie takes Luci, and Martha starts to lead Alexanderaway.

RACHEL(entering)

There you are, you rascal! Illtake care of it, Martha. Itsreally my fault. I should havebeen watching him more closely.First thing is to take off those

wet clothes. Then its into anice hot bath.

Alexander contentedly allows Rachel to lead him fromthe room. When theyre gone, Franz returns to thenews.

INT. DAY - ALEXANDERS ROOM

RAIN lashes the window as Rachel sits pensivelyreading a letter.

ALEXANDER (O.S.)Rachel!

She doesnt react.

ALEXANDER

stands by the bathroom doorway in only his shorts.

ALEXANDERRachel!

BACK TO SCENE

Rachel hurriedly places the letter on the window silland puts on her governesss face as Alexander comesover.

RACHELIts Frulein Moss to you, young

man!


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PORT BOU 16

ALEXANDERWhat were you reading?

RACHEL

Just a letter from my parents.

ALEXANDER(turning around)

So, do I pass inspection?

She checks his nails and behind his ears.

RACHELJust one thing.

She gets a comb and combs his hair.

RACHELThere. Now once youre properlydressed -

ALEXANDERCould I, would you let me, braidyour hair? I know how to do it!Mother showed me. She lets me doit for her.

RACHELWhy, y-yes. Sure. That wouldwould be nice.

He expertly, and lovingly, braids her thick dark hair.

ALEXANDER...Youre the most beautiful girlIve ever seen.

RACHELComing from a man of the worldlike you, thats quite acompliment.

ALEXANDERDont make fun. I mean it!


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PORT BOU 17

RACHELIm sure you do.

He tugs on her hair.

RACHELOw!

(pulling away)Okay, thats enough now. Getdressed. We have our Latingrammar to study, remember?

She finishes braiding her hair. He walks to hisdresser, pouting then, spotting her letter on thesill, darts over and picks it up.

RACHEL(rushing over)

Alexander! Thats my letter.Its not for you!

ALEXANDER(holding letter away)

You said it was just from yourparents. So whats the big secret?

RACHEL

(reaching for letter)No secret its just private.Now give it back, this instant!

ALEXANDERNo! Everyones always hidingthings from me!

(glancing at the letter)This isnt from your parents.You lied!

She wrests the letter from him. He grabs her wrist sohard she gasps in pain.

RACHELLet me go! Youre hurting me!


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PORT BOU 19

INSERT PHOTOGRAPH

of a fat young man in his late 20s or early 30s,bearded, bald and shirtless, shiny with sweat.

ALEXANDER

drops the photo in disgust and picks up the letter...

INSERT LETTER

...in a spidery indecipherable handwriting.

ALEXANDER

in misery but also strangely elated, walks to thewindow. The rain outside continues.

ADULT ALEXANDER (V.O.)My beloved Rachel, was engaged!But to whom, or rather to what?This man looked like a monsterin a horror film. He was old andugly. And that handwriting...

He looks back down at the letter.

ADULT ALEXANDER (V.O.)...like a half-dead insect draggingitself across the paper. This was

my rival? But then, was I so muchbetter?

He looks down at his hands.

ADULT ALEXANDER (V.O.)I should cut off the hands thatpushed her to the floor!...Evenso, she kissed me!

FADE TO:


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PORT BOU 20

EXT. DAY MANSION GARDEN

With the look of a young man suffering the wounds ofadolescent first love, Alexander sits alone with a

book in the shade of a chestnut tree in bloom.

PRINCE SYNEK (O.S.)Alexander!

Alexander looks up at his father in the window.

ALEXANDERYes, father?

PRINCE SYNEKCome to the library immediately!

ALEXANDERYes, Father.

INT. DAY - LIBRARY

Prince Synek is at the window as Alexander enters and,seeing Rachel, stops in the doorway. She stands.

PRINCE SYNEK

Come in, my boy. Come in.

Alexander steps forward with trepidation, fearing areprimand for his behavior, or worse.

PRINCE SYNEKYou must prepare to leaveimmediately.

ALEXANDERLeave? But why?

PRINCE SYNEKJust listen. Soon the Germans willbe invading the Lowlands. Theirplans are to cross the borders of

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PORT BOU 22

FRAU SYNEKThe luggage is packed. All theservants have left.

(to Rachel and Alexander)

I have prepared a cold lunch foryou.

RACHELMay I help you, gndige Frau?

FRAU SYNEKThank you. Just attend to

Alexander.

ALEXANDERIf the servants have left, who

will drive?

PRINCE SYNEKOttokar, of course.

ALEXANDERBut -

PRINCE SYNEKOttokar is a friend. Martha andHerr Hrmadka will remain also, to

maintain the premises and forappearances sake. Now enoughquestions. Go!

After Rachel and Alexander leave, Prince Synek sinksinto a chair by his desk. His wife puts a comfortinghand on his shoulder, which he covers with his own.

EXT. DAY - MANSION COURTYARD

A shiny black Stutz idles before the mansion gate.Herr Hrmadka, the Syneks obsequious concierge, placesthe last piece of luggage in the trunk and helps FrauSynek into the car, twirling the tips of his greasyhandlebar-moustache. Prince Synek, Alexander, Rachel,and OTTOKAR, the chauffeur, are already inside.


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PORT BOU 23

HERR HRMADKAIs your Ladyship planning atrip of long duration?

FRAU SYNEKThat depends on the weather.

HERR HRMADKALet us pray you will haveplenty of sunshine.

PRINCE SYNEKPlease open the gate.

HERR HRMADKAOf course, your Highness, ofcourse.

Herr Hrmadka waddles to the gate, selects a key fromhis enormous key ring and inserts it in the lock,turning it as if the task required great strength. Asthe car passes, he bows deeply.

EXT. DAY PRAGUE STREETS

The imposing automobile in crowded city streets.

INT. CAR

Prince and Frau Synek sit in back facing forward,Rachel and Alexander in the double seats facing them.

A curtained glass window separates the passengers fromOttokar, a tall, thin man with impassive features thatseem set in granite. He wears a long black overcoatand peaked black cap. Imbedded in an armrest betweenthe adults is a flexible speaking tube allowing thechauffeur to communicate with his passengers.

EXT. STREETS MONTAGE

A) German soldiers and military vehicles everywhere.


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B) Alexander is awed and alarmed by sights from whichhe has been shielded for over a year.

C) Rachel takes his hand to comfort him.

D) Prince and Frau Synek, embittered and pained by thesituation, appear comforted by the strong bond theyobserve between Rachel and Alexander.

E) Harried indifference or intimidation in thescurrying pedestrians, but also occasional curious,or resentful glances at the luxurious car.

INT./EXT. DAY CAR MONTAGE

Seeing his wife take a handkerchief to her face,Prince Synek musters a grim determined expression.

PRINCE SYNEK(to Alexander)

Theres your old school. I doubtyoull shed a tear for that.

They all glance at the monastery-like building.Alexander quickly looks away.

PRINCE SYNEKAnd that, Frulein, is theAltneuschul, the oldest existingsynagogue in Europe. Built inthe 13th century.

RACHELOld-new school? An odd name.

FRAU SYNEKIt was Pragues only synagogueuntil the expulsion of Jewsfrom Spain and Portugal.

A family leaving the synagogue as the car passes areall wearing yellow stars of David. Everyone, butespecially Alexander, is struck by the sight. He gives


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Rachel a comforting look and squeezes her hand.

OTTOKAR(over speaking tube)

Pardon me, but we are nearing ourdestination.

PRINCE SYNEKThank you, Ottokar.

Prince Synek takes a fine Moroccan leather wallet fromthe inside pocket of his jacket.

PRINCE SYNEKI have something important toshow you. Listen carefully.

He opens the billfold to reveal two Czech passports, alarge amount of money, and road maps.

PRINCE SYNEKSeveral currencies, ample foryour needs. And passports forboth of you. Ottokar has hisown. Familiarize yourselves

with the maps. You should knowat all times where you are and

where you are going.(handing Rachel the wallet)Ottokar has directions for theentire trip. By dusk, you willcross the Austrian border. Youhave the exit and transit visasfor Austria, Liechtenstein andSwitzerland stamped in yourpassports, as well as your entryvisa for France.

He pauses until theyve passed a group of Nazisoldiers looking suspiciously at the car.

PRINCE SYNEK (contd)Ottokar will drive through

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PRINCE SYNEK (CONTD)Austria all night. You willarrive at the Palace Hotel, inVaduz, early tomorrow morning.

(to Rachel)There you will meet your parents.

RACHELMy parents?

PRINCE SYNEKThey should have left early this

morning and will arrive in Vaduztonight.

Tears roll down her cheeks. Overwhelmed by emotion,she reaches for the Princes hand to kiss it.

RACHELThank you, thank you so much,gndiger Herr!

PRINCE SYNEK(pulling his hand back)

Now you must concentrate,Frulein, because Vaduz is only

the beginning of your trip. Youwill get some rest during theday Sunday, then Ottokar willchange vehicles, one with Frenchlicense plates, and at fiveoclock Sunday evening he willtake you, your parents, and

Alexander through the night intoSwitzerland and across the FrenchBorder. From then on, youll besafe. After breakfast you willproceed to Lyons, where you willawait further instructions.

ALEXANDER(anxiously)

Papa! What about you and Mama?


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PRINCE SYNEKWe will join you in Lyons. Fromthere we will travel together,unless Herr Hitler interferes with

our plans. We will all stay inLyons and wait until the Fhrerand his henchmen are behind bars.Nothing can happen to us once weare in France. France is our ally.

ALEXANDERBut where are you going? How longwill you be away?

PRINCE SYMEKNo time to answer now. Ottokar willexplain.

The car comes to a halt at the train station.

EXT. CAR TRAIN STATION

Ottokar gets out and opens the rear doors. Prince andFrau Synek step out followed by Rachel and Alexander.Rachel shakes hands with his parents.

RACHELThank you again, both of you! Idont know how I can repay you!

PRINCE SYNEKBy making sure that we all meetagain safely, in Lyons.

ALEXANDERYou make sure, too!

He shakes hands with his father and embraces hismother, who kisses him tenderly.

FRAU SYNEKIt wont be long, my darling.


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She holds back tears as she and the Prince depart forthe train station. Alexander is on the verge of tearshimself as he looks after them. Ottokar signals toRachel, who tugs Alexander back into the car.

INT./EXT. CAR

Alexander and Rachel sit where his parents sat.Ottokar pulls away from the station. Alexander seeshis mother steal a brief glance in their directionbefore she and his father disappear into the crowd.

RACHELDont worry, Alexander. Yourfather has planned everythingso well. Soon we will all betogether again.

He nods, restraining his emotions. Rachel draws himtoward her, and he rests his head on her shoulder. Asthey drive on, her expression turns to one of concern.

INT./EXT. DAY CAR/CZECH COUNTRYSIDE - MONTAGE

Alexanders spirits are lifted by the scenery

verdant meadows, fruit trees in bloom, cattle grazing and by the intimacy hes now sharing with Rachel.Her mood has lifted too, thanks to the surroundingsand the thought of seeing her parents again.

ADULT ALEXANDER (V.O.)Ottokar didnt say much about

where my parents were going or whywe had to be separated. Just thatmy father had some importantfinancial matters to take care ofand wanted us to get a head start.Getting anything out of Ottokar waslike pulling teeth, in the best oftimes, so I put my concerns asidefor the moment. Besides, here I

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ADULT ALEXANDER (V.O. CONTD)was, starting the longest journeyof my life with Rachel.

While driving, Ottokar opens the glass partition andhands back the lunch Frau Synek prepared for them.

RACHELThank you, Ottokar.

Alexander and Rachel talk while enjoying the meal.

RACHELOh, Alexander, I know youll love

my parents! And they will love you.

ALEXANDERIm not thinking of your parents.

RACHELYoure worried about yours, arentyou?

ALEXANDERIm not thinking about themeither. Being here with you alone...its what Ive always

dreamed of.

RACHELBut were not alone. We have achaperone.

ALEXANDERYou know what I mean!

RACHELIm eight years older than you,

Alexander

ALEXANDERSeven!


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RACHELAnd Im your governess. But afew years from now, when youretwenty-one...

ALEXANDERYes? What then?

RACHELWell, then you wont need agoverness. If you still know me.

ALEXANDERIll know you 80 years from now!

He grips her hand so tightly she squeals. Suddenly thecar brakes, spilling some of their food.

INT./EXT. DAY - CAR/COUNTRY ROAD

A group of men, women and children with swastikas ontheir sleeves and carrying banners march past singingthe Horst Wessel Lied, the Nazi anthem. Rachel, almostchoking, presses her hands over her ears. Alexander,surprised by her vehement reaction, closes the windowsand attempts to comfort her but without success. He

directs his anger, silently, at the marchers.

INT./EXT. - TWILIGHT - CAR/RUGGED TERRAIN

Rachels head rests on Alexanders shoulder now. Sheis asleep and he is nearly so.

OTTOKAR(through speaking tube)

We must stop for gas in Budweis.

INT./EXT. NIGHT - CAR/BUDWEIS

As they enter the Czech village, a mob, lewd anddrunk, careens through the streets. Nazi flags and


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banners everywhere. Rachel sits up with a start.

RACHELOh no!

Alexander puts a protective arm around her.

OTTOKAR(through speaking tube)

Have no fear, Frulein. We willbe out of town in no time.

But he is forced to slow due to the riotous crowds. AnSS officer chasing a young woman across the streetslams into the hood and waves a fist at Ottokar.

Another officer rips the dress off her apparentlywilling companion. A wild-eyed woman tears off herdress in front of a drunken reveler. Other drunken menare fighting. A couple make love in an alley.

INT./EXT. CAR FILLING STATION

When they finally reach the filling station, itsclosed. Ottokar parks under an archway and comes to

Alexanders side window as the crowd surges past.

OTTOKARI have to find the owner. Drawthe curtains and open the doorsfor no one. Ill lock the doorsfrom the outside.

INT. - CAR

We HEAR the doors being locked as Alexander pulls thecurtain on one side, Rachel on the other. The NOISEoutside seems even louder in the cars dark interior.

Alexander puts his arm around Rachel and she opens thebillfold Prince Synek gave her and removes a map.

RACHELThe closest town is Linz, in

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RACHEL (CONTD)Austria almost a hundredkilometers.

ALEXANDERIt would be Sunday. We wouldntbe able to buy petrol anyway.

EXT. - CAR

The chaos continues. A man is clubbed savagely by SSthugs. The surging crowd shows increasing curiosity inthe gleaming Stutz parked at the filling station.

INT. - CAR

Crowd SOUNDS as Rachel and Alexander huddle in fear.

ADULT ALEXANDER (V.O.)I could feel Rachel shaking infear against me and suddenlyremembered something my fatherhad said: the Nazi doctrineappeals to people because itreleases the savage in them. The

mighty shake hands with the

downtrodden, each believing thisto be theirrevolution. Violenceand brutality are justified inthe name of patriotism. The rapeof everything refined and elevated

the victory of the lowestinstincts in man. I hadntunderstood at the time, becauseI couldnt imagine what was nowtaking place around us.

Rachel and Alexander jump at a voice outside.

VOICE #1Was macht denn dieses Auto hier?[What is this automobile doinghere?]


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VOICE #2Jemand da drinne?[Anybody in there?]

VOICE #3(RATTLING door handle)

Ist geschslossen.[Its locked.]

VOICE #1Hey, Du da drinne. Mach auf![Hey, you in there! Open up!]

VOICE #2(RATTLING other doors)

Sind alle geschlossen![Theyre all locked!]

VOICE #2Vielleicht Judenhunde dieverschwinden wollen![Maybe Jew dogs trying to run!]

The SOUND of fists pounding on the windows, followedby splintering glass: Ottokars side window. Alexandertries to shield Rachel as the window is shattered.

VOICE #3Verdammte Tr ist immer nochgeshlossen![Damned doors still locked!]

VOICE #2Krieche durchs Fenster, Dummkopf![Crawl through the window,blockhead!]

Suddenly Ottokars partition is smashed open.Alexander rips off his overcoat and throws it overRachel. A MAN with a crowbar (Voice #3) tears thecurtain aside and stares in; other faces peer inthrough the windshield behind him. He snatches theovercoat off of Rachel who screams.


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MAN (VOICE #3)N Mdel![A girl!]

VOICE #2Sgibt Mdel da drin![There are girls inside!]

CROWD VOICESHol sie raus! Hol sie raus! Holsie raus![Get them out! Get them out! Getthem out!]

The man pulls the side window curtain aside to givethe crowd a look, then reaches for Rachel. Alexandertears the crowbar from his hand and strikes him in theface. Screaming, the man falls backward, blood pouringover his face. Two other men (one of them Voice #1)crawl over the one who was bludgeoned...

VOICE #1Pass auf fr die Bremse![Watch out for the brake!]

...when the car lurches forward and starts to roll.

VOICE #1Du hasts losgelassen, Du Esel![You released it, you fool!]

EXT./INT. CAR

The car rolls down the street, parting the crowd andpicking up speed. One of the men crawling through thepartition grabs the crowbar from the floor and strikes

Alexander a glancing blow across the face. He slumpsagainst Rachel, whos still screaming but now in rageas well as fear. She claws the man fiercely.

INT./EXT. CAR POV ALEXANDER

As he fights to retain consciousness, everything


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begins to blur, from the flash of Rachels armsstruggling with their attacker to the intermittentglare of shop windows sliding past through the window.The shouts and sounds of the crowd merge into a

cacophonous BABBLE. Then, against the strobing shoplights, the indistinct silhouette of a giant, stridingtoward us through the crowded street, sweeping peopleaside as if he were swimming through them. Is thatOttokar, towering over everyone in his long blackovercoat? Everything goes black.

FADE TO:INT. DAY CAR POV ALEXANDER

Rachels face comes into focus. Alexander groans.

RACHELHes waking.

OTTOKAR(through smashed partition)

Give him some more cognac.

Rachel tips the bottle to his lips and Alexander sitsup abruptly, choking.

ALEXANDER

(holding his aching head)Ohhh...what happened?

RACHELOttokar was magnificent. And so

were you, my brave knight!

ALEXANDERHow did we get away?

EXT. NIGHT BUDWEIS MONTAGE FLASHBACK

RACHEL (V.O.)Someone released the hand brake...


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PORT BOU 36

Alexander is hit in the face and slumps forward ontoRachel. A reprise of the scene we saw through hisfading consciousness, but from other ANGLES: the Stutzrolls downhill through the pursuing mob. Ottokar

strides through the crowd, knocking people aside,jumps onto the running board, and unlocks the frontdoor from the outside.

INT. CAR - FLASHBACK

Ottokar pulls the emergency brake, grabs the bleedingman at the wheel by his neck and throws him into thestreet. The one in back he knocks cold with a singleblow without stopping to remove him. He starts theengine and, honking non-stop...

EXT. STREET - FLASHBACK

...backs through the crowd so wildly that people pushone another aside to avoid being run over.

EXT. NIGHT FILLING STATION MONTAGE FLASHBACK

The owner is waiting for him and fills the tank while

Ottokar stands guard. When the tank is filled, hepulls the unconscious man in the back seat through thedoor and drives off. The owner pulls a fat wad of cashfrom his pocket, riffles it to make sure its allthere, then hurries into the station and douses thelights.

EXT. NIGHT AUSTRIAN BORDER STATION - FLASHBACK

A sleepy guard checks Ottokars papers, then looks inback at Rachel and Alexander, still passed out on herlap.

OTTOKARSleeping.


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PORT BOU 37

RACHEL (V.O.)...And the guard waved us through.

The guard does just that.

BORDER GUARDHeil Hitler.

INT. NIGHT CAR

Rachel having brought him up to date, Alexanderreturns her smile, wincing, and looks out the windowto see that they are in the...

INT./EXT. NIGHT MOUNTAINS

Ottokar drives cautiously through slush, snow and fog,headlights probing the blinding weather. A truck HONKSas it passes dangerously close.

RACHELMaybe we should stop till thefog clears.

OTTOKAR

Impossible, Frulein. We losttoo much time in Budweis. Mymain concern is the young manscondition. Ask him his name.

ALEXANDER(groaning)

I can hear you. Alexander Alexander the Great.

OTTOKAROkay, get some sleep. Both ofyou.

INT. NIGHT PASSENGER COMPARTMENT


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PORT BOU 38

Alexander blows Rachel a kiss, which she returns.Lowering his eyelids with her hand, she closes hereyes and puts her head back against the seat.

EXT. NIGHT MOUNTAIN ROAD

Later. The fog is gone. The Austrian Alps, partiallyobscured by drifting clouds, are magnificent. Ottokarstops at a turnout and comes back to the...

INT. CAR

...passenger compartment to give Rachel a wool shawlto cover Alexanders neck. He pulls a wool cap out ofhis pocket as well, dislodging the cars triptique.

OTTOKARThey mustnt see his injuries.Feldkirch is the most pro-Naziborder station.

Rachel places the cap on Alexanders head, then handsOttokar the triptique, with a noticeable shudder.

OTTOKAR

...But its the last in Austria.Courage.

She nods and smiles bravely. Ottokar closes the door.

ALEXANDER(sleepily)

What was that you handed him?

We HEAR Ottokar slam the door and turn on the engine.The journey continues during their conversation.

RACHELTriptique. The vehicle papers:engine number, body type, proofof insurance. Thats how it

(MORE)


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PORT BOU 39

RACHEL (CONTD)always begins when you arriveat the border: Heil Hitler!Triptique, bitte!...How I hate

Those horrible words! Twice Ileft Germany swearing never toreturn, each time with theillusion that I was out ofdanger at last, free frompersecution, free to say what Ithink and feel. Now, I amfree:free from my illusions. Fascismis marching faster than we canflee from it.

Theyre both silent a moment as Alexander thinks aboutwhat shes said and Rachel appears absorbed in memory.

ALEXANDER...What were the other times

when you tried to escape?

RACHELFirst, when I drove with myparents to Holland, last year...and the second time, when Ientered Czechoslovakia.

ALEXANDERYour parents are in Holland?I thought they were in Germany.

RACHELThey are. We never made it toHolland....There is so much Ivenot told you of my life. Itsa different world from yours.

ALEXANDERTell me about it. Please.

RACHEL...Im leaving behind so many

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RACHEL (CONTD)people whose world has molded

me. You see, when Hitler cameto power, my father was a public

prosecutor.

ALEXANDERA prosecutor! So what happened?

Rachel stops talking and gazes through the window, notreally seeing the mountains theyre passing through.

RACHEL...My father, who knew the law,

whose business it was to accuseand indict criminals, was nowaccused by criminals. The publicprosecutor was prosecuted. Peopletook their revenge on him.Suddenly he was a Jew, suddenly

we were all Jews when untilthen we had been Germans.

ALEXANDERThats how you became a refugee?

RACHEL

Not right away. First came thevarious anti-Jewish policies relieving professionals of theirpositions, outlawing intermarriage,...eventually stripping Jews ofour German citizenship. Many Jews,and other anti-Nazis, left Germany,if they could. Our home became a

way station for relatives andfriends who hoped to emigrate, or

who were out of work, destitute.

INT. DAY BOCHUM APARTMENT FLASHBACK

What was an elegantly appointed apartment at one timeis filled with adults and children, all miserable.


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RACHEL (V.O. contd)Our spacious apartment, where wehad been living for as long as Icould remember, seemed to shrink.

It became too small to house allthese people seeking temporaryshelter.

BACK TO CAR

Rachel suddenly slumps in her seat.

RACHEL(an older womans voice)

Oh God, my Lord Jesus, help me!I cant go on. I pray You, myLord Savior, and You, our Fatherin Heaven, and You, the HolyGhost! Help me!

(laughing, normal voice)Thats just one of the thingsyou had to put up with all day

Aunt Ruth sitting on the sofamoaning her prayers.

ALEXANDERBut wasnt your aunt Jewish?

RACHELYes of course, but shedconverted to Catholicism like

many other Jews, thinking thiswould save her.

INT. DAY BOCHUM APARTMENT - FLASHBACK

Rachels AUNT RUTH sits on a sofa, sighing andmumbling to herself.

RACHEL (contd, V.O.)Now with all this hatred of theJews by the good German

(MORE)


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PORT BOU 42

RACHEL (CONTD)Christians, Aunt Ruth was a Jewagain, whether she liked it ornot. But now she didnt know who

she was praying to.

ALEXANDER (V.O.)I can see her!

BACK TO CARRACHEL

Then there were my daily lovetrysts with Yasha.

ALEXANDERI dont know if I want to hearthis!

RACHELYasha was 82 years old! Born inNew York and still an Americancitizen, though his parentsreturned to Germany when he wasthree, which he always regretted.


YASHA hits on Rachel, who humors him good-naturedly.

RACHEL (V.O.)He tried to persuade anyone ina skirt to return with him tothe land of milk and honey.

Rachel escapes Yasha, only to encounter SIEGFRIED,rummaging in a wastebasket. Seeing her, he turns onthe charm. When she tries to ditch him, he chases her.

RACHEL (V.O. contd)Yashas rival was SiegfriedZarutzki, once a financier and

multi-millionaire, now a(MORE)


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PORT BOU 43

RACHEL (CONTD)compulsive pack rat, especiallyof things other people threw away.No doubt in compensation for the

fortune he lost when the Nazistook over. Siegfried used tochase me through the rooms, but

with his cataracts he was as goodas blind. The glasses he wore

werent even his. Hed filchedthem from a stranger.

BACK TO CARRACHEL (contd)

(elderly mans voice)Oh, my little Esther, Ive beendreaming of you all night long.

(her own voice)But Im not Esther, UncleSiegfried. Im Rachel Bacher.

(elderly mans voice)So what? Whats in a name?Dont be so finicky.

ALEXANDERYou should go on the stage!

Shes pleased, but her mood turns reflective again.

RACHELThese are only a few of all thepeople living in our apartment.


Various rooms overrun with people. Rachel, clearlybored, plays chess with Yasha.

RACHEL (V.O.)It became a marketplace. No onehad any privacy.


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PORT BOU 44

INT. KITCHEN - FLASHBACK

FRAU BACHER, Rachels mother, serves a large group atthe table. Others mill around, waiting their turn.

RACHEL (V.O. contd)Hungry people flooded thekitchen in waves. Relativesswarming in to borrow and be fed,to shout and cry threateningand defying my father, thenbegging for his help.

INT. STUDY - FLASHBACK

A group of men hector HERR BACHER, Rachels father, inhis study. He fends them off as best he can.

RACHEL (V.O. contd)But this once-powerfulprosecutor, humiliated andslandered by the Nazis, had no

more power. He was a mousetrapped like the rest.

BACK TO CAR

ALEXANDERMy God, how could you stand it?

RACHELThis was nothing compared to

what was to come. Kristallnacht have you heard of it?

Alexanders expression indicates he hasnt.

RACHELOf course not. Your father hasshielded you from such things.Crystal Night, November 9, 1938,

when hell broke loose in Germany.


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PORT BOU 45

INT./EXT. NIGHT BOCHUM, GERMANY - FLASHBACK

A rock shatters the window of a drugstore in whichRachel is a customer.

ROCK THROWERScheiss Jude![Shit Jew]!

Shouts and other anti-Semitic epithets are hurled byan angry crowd outside. The STORE OWNER reaches for aclub from behind the counter.

STORE OWNERVerdammte Verbrecher![Damn criminals!]

His WIFE tugs at his arm, trying to restrain him.

WIFENein, Fritz. Bitte nicht![No, Fritz, please dont]

Other customers cower in the aisles, while Rachel,afraid but wanting to know whats happening, inchestoward the broken window.

DRUGSTORE CUSTOMER #1Steh weg! Steh weg, Rachel![Stay away! Stay away, Rachel!]

DRUGSTORE CUSTOMER #2Bist Du verrckt, Mdchen![Are you crazy, girl!]

EXT. NIGHT - BOCHUM - POV RACHEL MONTAGE - FLASHBACK

Running through the streets, a mob throws rocks atstore windows, paints JUDE on windows and walls,sets fires, and beats passersby, including an elderlycouple. In the distance, the local synagogue is inflames.


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PORT BOU 46

RACHEL (V.O.)Mobs rampaged through the streetsall across the country, destroyingJewish businesses, burning

synagogues, beating and killinghundreds of people.

Rachel waits for the mob to pass, then sneaks out ofthe store and runs the other way towards her home.

INT. NIGHT - BOCHUM APARTMENT FLASHBACK

Rachel bursts into what is now a makeshift hospital.Her mother and Aunt Ruth are tending to riotcasualties. Uncle Siegfried is among the injured.

RACHEL (V.O.)It wasnt safe for Jews inGermany any longer. When thedeportations began, we had toflee, in the middle of the night.

EXT. NIGHT BOCHUM STREETS - FLASHBACK

Rachel, her parents, Aunt Ruth and Yasha, carrying

their belongings in bags and suitcases, trudge along aBochum alleyway at night.

RACHEL (V.O.)We left our car behind, thinkingthat when we had our papers wecould leave the country whichmy father, in spite of everything,didnt believe would be necessary.Like so many others, he was surethat Hitler would be gone in a

matter of months.

INT. NIGHT - ATTIC - FLASHBACK

Rain water drips into pans and buckets as Rachel and


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PORT BOU 47

her family put together makeshift beds in an attic atnight. Rachel puts her coat over a shivering Yasha.

RACHEL (V.O.)

Since our money had run out nowtoo, we found shelter where wecould: in cellars or attics withleaky roofs. Aunt Ruth and Yashadidnt survive.

EXT. NIGHT COUNTRY ROAD FLASHBACK

The family huddle in the back of a truck on a countryroad at night. Frau Bacher is coughing.

RACHEL (V.O.)We could never stay in any oneplace for long. Always on the

move. Finally, we found refugewith Gentile friends, the Meyers,who took us in and hid us atgreat risk to themselves.

EXT./INT. NIGHT - VILLAGE COTTAGE FLASHBACK

Herr Meyer welcomes the family at the door, urgingthem to hurry inside before latching the door. FrauMeyer greets them.

RACHEL (V.O.)Then, my mother got sick.

INT. DAY - COTTAGE BEDROOM - FLASHBACK

Rachel and Frau Meyer tend to a bedridden Frau Bacher.

RACHEL (V.O.)There was no hospital in thevillage. My cousin had told meof a route over the border toHolland that was unguarded. I

(MORE)


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PORT BOU 48

RACHEL (CONTD)know how to drive, and the car

was still in our garage. HerrMeyer said hed get it for us.

INT. - COTTAGE - FLASHBACK

Rachel argues with her father.

RACHEL (V.O.)The only obstacle was my father.

BACK TO CARRACHEL (contd)

He was still convinced the Naziswould be overthrown any day, andrefused to leave the country...

(scornfully)...without the proper papers.

INT. - COTTAGE BEDROOM - FLASHBACK

Rachel, her father and the Meyers huddle around FrauBachers bedside. She appears to be gravely ill.

RACHEL (V.O.)But my mother continued to getworse and, finally, my fatherrelented.

EXT. NIGHT - COTTAGE FLASHBACK

Herr Meyer arrives with the Bachers Mercedes, andFrau Bacher is helped into the back of the car. WithRachel behind the wheel, her father beside her, theysay goodbye to the Meyers and drive away.

RACHEL (V.O.)I drove through the night.


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PORT BOU 49

EXT. NIGHT HIGHWAY FLASHBACK

Rachel driving the Mercedes.

RACHEL (contd, V.O.)Things went smoothly until wereached the Dutch border.

EXT. NIGHT DUTCH BORDER STATION FLASHBACK

The Mercedes approaches.

INT. MERCEDES FLASHBACK

Rachel and her father exchange a worried, but hopeful,expression.

MANS VOICE (O.S.)Triptique, bitte!

EXT. - BORDER STATION FLASHBACK

A BORDER GUARD sticks out his arm.

BACK TO STUTZ (THE PRESENT)

ALEXANDERBut your cousin told you it wasunguarded!

RACHELHe was wrong.

ALEXANDERSo what did you do?

RACHELNo triptique...my mother dying.I had to drive on against myfathers wishes.


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PORT BOU 50

EXT. NIGHT BORDER STATION - FLASHBACK

Rachel guns the engine and peels out. The guard shootstheir tires to shreds.

INT. NIGHT CAR - FLASHBACK

With her father screaming at her, Rachel fumblesbeneath the seat as...

EXT. NIGHT CAR - FLASHBACK

...the guard runs up, machinegun pointed at the car.

GUARDHalt! Raus vom Auto! Hndehoch! Machs schnell![Stop! Out of the car! Handsup! Make it fast!]

ALEXANDER (V.O.)And arrested you?

RACHEL (V.O.)No.

EXT. NIGHT CAR POV GUARD

The petite girl in the drivers seat, her eyes widewith fear, suddenly pulls a handgun from somewhere,aims it at him...and fires.

BACK TO STUTZ (THE PRESENT)

The SOUND of the shot echoes in the back seat of thecar. Alexander cant believe what hes just been told.

ALEXANDER...You shot him?


52/104

PORT BOU 51

Rachel is too emotional to answer at first.

ALEXANDER...You shot a border guard?

RACHELDont you see? Everything restedon my shoulders. My father was aburden, not a help.

ALEXANDERWhere did you get the gun?

RACHELHerr Meyer. My father didntknow about it.

ALEXANDER...And you knew how to use it?

RACHELI had no idea. I didnt even knowif the safety was on. But whatchoice did I have? What did wehave to lose?...The safety wasoff the gun could have fired atany time. I just squeezed the

trigger and....

INT. NIGHT CAR FLASHBACK

Rachel sits there frozen for a moment, stunned by whatshe has done. Herr Bacher is speechless.

RACHELWir mssen weg. Sofort! Hilf mirmit Mama. Komm schon![We have to go! Now! Help me

with Mama. Come on!)

EXT. NIGHT - GUARD STATION/FOREST MONTAGE, FLASHBACK


53/104

PORT BOU 52

They help Frau Bacher from the car, and supporting herbetween them as best they can, stumble into the woods.

HERR BACHER

Was hast Du gemacht, Kind! BistDu verrckt? Nun sind wir alle Tod![What have you done, child! Are youcrazy? Now were all dead!]

Finally Frau Bacher pleads with them to stop.

FRAU BACHERKann nicht weiter. Bitte Momenthalten.[Cant go on. Please stop a

minute.]

They gently place her beneath some underbrush. Itbegins to snow. Rachel makes a shelter of branches forthe three of them to huddle under.

RACHEL (V.O.)I thought we would freeze to death at least it covered our tracks.

EXT. EARLY MORNING FOREST FLASHBACK

Rachel and her father struggle to carry Frau Bacher ona crude stretcher made of tree limbs and branches.Exhausted, they arrive at a country road and hide inthe trees, then flag down a FARMER in a cattle truck.

RACHELKnnen Sie bitte helfen. Unfallgehabt.[Can you please help? An accident.]

His face reveals his assessment of the situation.

FARMER...Na sicher. Steig hinten rein.[But of course. Hop in the back.]


54/104

PORT BOU 53

Rachel and her father help Frau Bacher into the truck.

FARMERHab kein Angst. Aber am besten

die Dame schtzen. Die Tiere werdenmanchmal rastlos.[Dont be afraid. But betterprotect the lady. The animalscan get restless.]

Rachel and her father stand over Frau Bacher to keepthe cattle away from her as the truck starts to move.

EXT. DAY - FARMHOUSE FLASHBACK

When they arrive at the farmhouse, the FARMERS WIFEcomes out to meet them.

FARMERS WIFEWas ist passiert, Ernst?[What happened, Ernest?]

FARMERUnfall gehabt.[Had an accident.]

FARMERS WIFE(quietly to her husband)Noch eine?[Another one?]

(louder, to the strangers)Komm doch rein! Machen Sie Sichzu Hause.[Come on in! Make yourselves athome.]

RACHELDanke vielmals!

[Thank you so much!]

HERR BACHERSehr nett von Ihnen. Besten Dank.[Very nice of you. Many thanks.]


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PORT BOU 54

INT. - FARMHOUSE - FLASHBACK

Herr Meyer and Rachels father carry Frau Bacher in.She immediately starts coughing.

FARMERS WIFEWas fr einen Unfall war dasdenn?[What kind of accident was it?]

RACHELAuto-unfall.[Car accident.]

HERR BACHERSind von der Strasse abgerutscht.[Went off the side of the road.]

Farmer and wife share a knowing glance.

FARMERS WIFEDie Frau ist ja sehr krank!Sie muss zum Hospital![The woman is very sick. She mustgo to a hospital!

RACHEL

Nein! Nicht ntig, wirklich.[No! Not necessary, really.]

HERR BACHEREs ist nicht ganz so schlimm. Siewird schon besser. Der Schock,wissen Sie?[Its not really so bad. Shellget better. The shock, you know.]

Frau Bacher coughs and moans in pain.

FARMERS WIFEUnsinn! Sie braucht Hilfe![Nonsense! She needs help!]


56/104

PORT BOU 55

FARMERJa sicher. Ich bringe Sie zu Dr.Waldeck.[Yes, for sure. Ill take her to

Dr. Waldeck.]

RACHEL & HERR BACHERNein!

Stunned looks. A tense moment of silence.

RACHEL (V.O.)It was a desperate moment. I hadto take another chance.

RACHELEs war kein Unfall.[It wasnt an accident.]

Her father looks at her sternly.

RACHELWir sind weggelaufen.[We ran away.]

HERR BACHERRachel!

RACHELWir sind -[Were -]

FARMER- Juden.[Jews.]

BACK TO STUTZ (IN PRESENT)

ALEXANDERDid he call the authorities?

RACHELThey took us in. Were not allNazis, he said


57/104

PORT BOU 56

ALEXANDERAnd your parents are still there?

RACHEL

Yes. My mother began to recover,thanks to the farmer and his wife and Dr. Waldeck, another goodGerman. But I had to leave ofcourse.

ALEXANDERWhy?

RACHELAfter what I had done? The Nazishad our identification papers. I

was a wanted Jew murderer. Anyway,I couldnt stand it any longer. Ihitch-hiked to Munich, where I

met a Czech anti-Nazi willingto take me to Prague. I thought

my troubles were over untilwe arrived at the Czech border.

EXT. DAY CZECH BORDER STATION - FLASHBACK

The CZECH FRIENDs car is stopped at a crossing gate,where a GUARD comes up.

CZECH GUARDTriptique, bitte!

CZECH FRIENDJawohl. Fr mich und meine frau.[Yessir. For me and my wife.]

He hands his papers to the guard, who gives them onlya cursory inspection until, frowning, he peers intothe car at Rachel, then back down at the passport.

CZECH GUARDDas soll Ihre Frau sein?[Thats supposed to be your wife?]


58/104

PORT BOU 57

CZECH FRIENDJa, natrlich. Gibts da einProblem?[Yes, of course. Is there a problem?]

The guard takes another look at Rachel, then at the...

INSERT PHOTO - FLASHBACK

...of a woman in her forties.

RACHEL (V.O.)I looked old and haggard by then,but not that old. He should havesaid I was his daughter!

BACK TO GUARD STATION - FLASHBACK

The guard WHISTLES for help. Rachel tries to run awaybut is quickly apprehended.

RACHEL (V.O.)Thank God I was in Czechterritory!

BACK TO STUTZ (IN THE PRESENT)

ALEXANDERBut the Nazis were there too!

RACHELYes. But so was your father.

ALEXANDERThat was how he found you?

RACHELMy Czech friend notified him of

my whereabouts. Your father gothold of my dossier I dontthink you know it but hes kept

(MORE)


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PORT BOU 58

RACHEL (CONTD)the dossiers of hundreds ofrefugees. He changed my name,got me a new passport, and now I

am not Rachel Bacher, the Jewishmurderess. But Rachel Moss, fromFalkenau.

Alexander is obviously overwhelmed by Rachelsrevelations; he can think of nothing to say. AndRachel has fallen asleep.

ADULT ALEXANDER (V.O.)A storm arose inside of me.

He looks out at the...

EXT. NIGHT MOUNTAINS

...illuminated by moonlight.

ADULT ALEXANDER (V.O. contd)There was my father, fighting tosave lives.

INT. - CAR

Rachel is finally at peace in sleep.

ADULT ALEXANDER (V.O. contd)Here was my fragile little Rachel,a lion-hearted woman disguised as

my governess. While all this timeI had been pampered and shelteredfrom everything. And then anotherthought struck me.

A sudden look of alarm on Alexanders face.

ADULT ALEXANDER (V.O. contd)What kind of danger must myfather be in? And my mother had he endangered her as well?


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PORT BOU 59

FELDKIRCH GUARD (O.S.)Triptique, bitte!

EXT. NIGHT FELDKIRCH BORDER STATION

A BORDER GUARD steps up to the car at a crossing gate.Ottokar hands him the triptique. The guard glancesthrough it, then at Ottokar, then into the back, whereRachel has just awaken. When the guards eyes alighton her, his expression turns to contempt.

OTTOKARMay I have my papers back?

FELDKIRCH GUARDPull forward. If your papers arein order, youll get them backafter customs clearance.

He turns to the car behind them, and Ottokar pullsforward ten meters to a second BORDER GUARD.

FELDKIRCH GUARD #2Heil Hitler! Triptiques, bitte!

Ottokar hands this guard their passports, which he

takes without looking at them, staring insteadintently into Ottokars and his passengers faces.

FELDKIRCH GUARD #2Von welcher Stadt kommen Sie?[What city are you from?]

OTTOKARPrague.

FELDKIRCH GUARD #2Wo ist Ihr Gepck?

[Where is your luggage?]

OTTOKAREs ist im kofferraum.[Its in the trunk.]


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PORT BOU 60

FELDKIRCH GUARD #2(gesturing)

Fahr vorwhrts, zum Zollamt.[Pull forward, to customs.]

OTTOKARWann kriegen wir die Psse zurck?[When do we get our passports back?]

FELDKIRCH GUARD #2Sie werden beim Zollamtzurckgegeben. Heil Hitler![Theyll be returned at customs.Heil Hitler!]

Ottokar pulls forward under the roof of the customshouse and the car is immediately surrounded. Half adozen customs officers swarm around the Stutz andothers with Swiss, German and Austrian license plates.

CUSTOMS OFFICERIrgend etwas von sterreichmitgebracht?[Bringing in anything from Austria?]

OTTOKARNein, garnichts.

[No, nothing.]

CUSTOMS OFFICIALWaren anzugeben?[Any goods to declare?]

OTTOKARNein.

CUSTOMS OFFICIALKofferraum aufmachen! Gepck auf-schliessen. Auto aussteigen,offen lassen, Schlssel imZndschloss. Gehen Sie ins Amtund warten bis Sie gerufen werden.Heil Hitler!

(MORE)


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PORT BOU 61

CUSTOMS OFFICIAL (CONTD)[Open your trunk! Unlock yourluggage! Leave your automobileopen, keys in the ignition. Go

into the office and wait untilyou are called. Heil Hitler!]

INT. CUSTOMS OFFICE

They enter a spare, empty room and sit on a bench. Onone of the drab walls is an oversize color photo ofDer Fhrer. Alexander consults his gold pocket watch.

ALEXANDERWere hours behind schedule.

Ottokar doesnt reply. Exhausted, they remain silent.Headlights pass outside. Finally, a uniformed man

motions for them to enter a door to the...

INT. - OFFICE

...of the DISTRICT DIRECTOR of the Frontier Guards.They stand at his desk.

DIRECTORHeil Hitler!

When he receives no response, his face turns sour. Helooks at their papers, in front of him.

DIRECTORI understand you are from Prague?

OTTOKARYes.

DIRECTORWhere to? Switzerland?

OTTOKARFrance.


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PORT BOU 62

DIRECTORVacation?

OTTOKAR

Yes.

DIRECTORYou left Prague in a hurry.

The Director stands and begins to pace.

DIRECTORWhy do you have only threesmall suitcases?

He stops in front of Ottokar and glares at him.

DIRECTOR (contd)Welll?

Ottokar says nothing. The Director turns to Rachel.

DIRECTOR (contd)How long have you lived inPrague, Frulein?

RACHEL

About ten months.

DIRECTORBorn in Falkenau, were you?

RACHELYes.

DIRECTORHow long did you live in Falkenau?

RACHELUntil I was five.

DIRECTORWhere did you live then?


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RACHELIn Bochum, Westphalia.

DIRECTOR

Thats German territory. Why doyou have a Czech passport?

RACHELI retained my Czechoslovakiancitizenship.

DIRECTORYet you resided in Bochum?

RACHELYes.

DIRECTORAnd you, a Jewess...

Rachel doesnt rise to the bait.

DIRECTORYou left Germany ten months ago

without an exit permit. How doyou explain that?

Even Ottokar turns his head to see how shell answer.

RACHELI did have an exit visa stampedin my passport, but that passportexpired and I had to surrender it

when I received the new one.

The Directors triumphant smile fades. He paces again.

DIRECTOR...Well, I cannot let you pass.You will have to return the wayyou came.

OTTOKARWhy is that?


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DIRECTORBecause you have exit visas fortwenty-four hours only.

Ottokar grinds his teeth, his face glowering.

OTTOKARThick fog...I was forced todrive cautiously. Many detours.

DIRECTORThats no excuse. According toyour papers you entered AustriaSaturday night at 23 hours. Isthat correct?

OTTOKARCorrect.

DIRECTORYou should have entered atseventeen hours, surely notlater. What held you up?

OTTOKARDemonstrations.

DIRECTORDemonstrations? What sort ofstory is that? It took you 26hours from Unterhaid toFeldkirch? Is that what youretrying to tell me?

OTTOKARYes.

DIRECTORYou picked this girl up on your

way! Thats what slowed you down!

OTTOKARNo. She started out with us fromPrague.


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DIRECTORDont argue! If you have no betterpretext for your delay, it wouldhave been best to say nothing. You

must return without fail. Nexttime youll have to devise a moreconvincing scenario.

OTTOKARWhat if we pay for the difference?

The Director stops abruptly, as if thunderstruck bythe insolence of Ottokars question.

DIRECTORPay for the difference? Thatsabsurd! Pay with money for thedifference in time? That would beillegal. What do you think thisis, a trading post? You cannotpossibly pay the difference. You

would have to pay a penalty of atleast...ten thousand Kronen!

OTTOKARThat will be all right. Wont it,

Alexander?

Alexander is taken by surprise but recovers quickly.

ALEXANDER(pompously)

Of course. That will be quite allright.

DIRECTOR(turning to Alexander)

Who is this boy?

OTTOKARThe son of my employer.

DIRECTORAnd who is your employer?


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OTTOKARFather of the boy.

Alexander stifles a laugh, but the Director ignores

Ottokars impertinence to return his attention toRachel. With one eye wide open, the other nearly shut,he inspects her as if through a monocle.

DIRECTOR...And who is this girl?

OTTOKARThe boys governess.

DIRECTORIm warning you youre goingtoo far! You want to smugglethis Jew-girl over the border!Why dont you admit it? Do youthink I am blind?

Without replying, Ottokar pulls a bundle of one-thousand Kronen notes from a pocket of his overcoat.Mumbling the figures, he counts out ten and depositsthe money on the desk, then returns the rest of theroll to his pocket.

OTTOKARWe dont need a receipt, justyour stamp of approval.

The Director pauses briefly at the flippant remark,then reaches into the top drawer of his desk andremoves their passports, along with Ottokarstriptique, and stamps each. The three of them leavethe room without another word.

EXT. NIGHT PALACE HOTEL

The Stutz pulls up in front of the hotel.

INT. NIGHT CAR


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ALEXANDERIts after two oclock. Yourparents must have gone to bedhours ago.

RACHELYou dont know my parents.

EXT. NIGHT HOTEL

A bellboy takes what luggage they have, and Ottokarhands the car keys to a parking attendant.

INT. NIGHT HOTEL LOBBY

They enter the hotel and...

LOBBY POV RACHEL AND ALEXANDER

...are confronted by the reserved stares of herparents, who barely resemble the bedraggled fugitivesof Rachels flashback recounting. Herr Bacher has thestiff, ultra-conservative appearance and manner of thearchetypal Prussian, his hair cropped in imitation of

Field Marshall von Hindenburg. Frau Bacher, in betterbut still fragile health, masks a gentler soul behindthe authoritative airs of an empress. The reunion withtheir daughter is not without tears by Rachel and her

mother, but is otherwise surprisingly perfunctory.

RACHELMother, Father, this is

Alexander Synek.

Alexander bows. Frau Bacher smiles faintly, HerrBachers expression remains rigidly serious.

HERR BACHERWe are greatly indebted to yourfather, Prince Synek.


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ALEXANDER...Thank you, sir.

RACHEL

(awkwardly)...And this is Ottokar, atrusted friend of the family,

who got us here safely.

Herr Synek nods stiffly at Ottokar, who bows politely.A moment of nervous silence.

FRAU BACHER...You must all be terribly tired.

RACHELYes, a nice soft bed does soundnice. And -

HERR BACHER(to the others)

Well, good night then.

He bows and tips his cap. Rachel is obviouslyflustered and embarrassed. Frau Bacher takes herdaughters arm and starts to pull her away.

RACHEL(to Alexander and Ottokar)Well see you in the morning.Thank you so much, Ottokar, foreverything! And thank you, too,

Alexander. Good night.

Ottokar nods his head. Alexander, too stunned tospeak, waves meekly. But when Rachel gives him alonging look, hes tempted to go after her. Ottokargrabs his arm, with a look which, though hard to read,reveals a compassionate nature we havent yet seen.

INT. DAY HOTEL RESTAURANT

Alexander, having apparently not slept well, anxiously


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awaits Rachels appearance as he breakfasts alone inthe large, sparsely occupied room. A PAGEBOY enters.

PAGEBOY

Telephone for Alexander Synek!

Alexander raises his hand.

PAGEBOYThis way.

Alexander follows the pageboy into the...

INT. - HOTEL LOBBY

...where Ottokar stands beside the telephone booth. Hehands the receiver to Alexander.

INT. - TELEPHONE BOOTH

ALEXANDERFather!

In the TINNY VOICE of an old-fashioned telephone, hisfather speaks so rapidly, in such agitation, that we

can understand only a few words: Germans...LowCountries...Lyons...Marseilles. Its clear thatAlexander is having difficulty understanding as well not the words so much as their implications.

ALEXANDER...Yes, hes right here.

He hands the receiver to Ottokar, who takes his placein the booth and listens with increasing tension.

OTTOKARI dont think the gentleman

would take that from me, Sir.(tinny response)

That I shall do, Sir. Will youwait on the line?


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He puts the receiver down and turns to Alexander.

OTTOKARYour father wants to talk to

Herr Bacher. Hes in thelobby. Wait! Tell FruleinRachel not to unpack, wereleaving immediately.

Alexander hurries off to the...

HOTEL LOBBY

...where he discovers Herr Bacher engrossed behind anewspaper in an armchair.

ALEXANDERWill you please come to thetelephone, Herr Moss? My fatheris calling from Prague. He hassome urgent matters to discuss

with you.

At first there is no response whatsoever.

ALEXANDER

Regarding our departure.

Herr Bachers newspaper slowly descends until thescornful expression on his face appears. He addresses

Alexander with the air of a teacher speaking to adisobedient pupil.

HERR BACHERMy name is Bacher Oberstaatsanwalt Bacher! NotMoss. Now, repeat your message.

And repeat it correctly!

ALEXANDER(barely mastering his anger)

Will you please come to the(MORE)


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ALEXANDER (CONTD)telephone, Herr OberstaatsanwaltBacher? My father is calling, HerrOberstaatsanwalt Bacher. He has

a very urgent matter to discusswith you, Herr OberstaatsanwaltBacher, regarding our departure.

Herr Bacher listens carefully, nodding at each mentionof the name Bacher. Then he gets up and stalks tothe telephone booth, ignoring Alexander, who followsat considerable distance in smoldering rage. When hearrives at the...

TELEPHONE BOOTH

...Rachels father is already on the line. Ottokarstands nearby.

HERR BACHER...My dear Prince Synek, whileI am most grateful for all youhave done for me and my family,Im afraid that we have already

made other plans. We will bestaying with close friends in

Bern, whom we have not seen inmany years. The rest andrelaxation is precisely what weall need after these manydifficult months.

With a sour expression he listens to Prince Syneksprotestations, whose urgency we can detect in theTINNY TELEPHONE VOICE. Outside the booth, Ottokarlooks on with concern, Alexander with mounting fury.

HERR BACHERYes, yes, Prince Synek, we haveheard these alarmist claimsbefore. But cant you see thateven if such an invasion were

(MORE)


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HERR BACHER (CONTD)to take place, which I greatlydoubt, it would certainly require

more than a few days to overrun

the armies of four strong nations?The Poles and Scandinavians areone thing. But the Belgians andthe Dutch and the French, withtheir impenetrable Maginot Line!No, no, my dear sir, we shallfollow our alternative route, asplanned. But again, we do thankyou for all your help. AufWiedersehen.

He hangs up the phone with authority, glances icily atAlexander and Ottokar and strides away.

EXT./INT. DAY CAR/LUXEMBERG COUNTRYSIDE

In contrast to the beautiful spring landscape isAlexanders dark mood. He sits beside Ottokar, nowdriving a Citroen with French license plates.

ADULT ALEXANDER (V.O.)I wasnt even allowed to say

good-bye to Rachel. I was sureI would never see her again.

Military vehicles pass them in the opposite direction.

ADULT ALEXANDER (V.O. contd)The next morning, the tenth ofMay, the German Army crossed theborders of Holland, Belgium andLuxembourg, as my father hadforewarned...Herr OberstaatsanwaltBacher.

EXT. NIGHT RESTAURANT

Crowded and tense. Numerous military personnel among


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the diners, many of whom are listening anxiously toNEWS REPORTS. At a table by themselves, Ottokar issympathetically aware of Alexanders misery.

INT./EXT. DAY CAR FRENCH BORDER

Military vehicles line the road, but the Citroenpasses easily through the border checkpoint.

ADULT ALEXANDER (V.O.)The next day, we crossed theFrench border our easypassage tempered by the sensethat we were racing ahead of agathering storm.

INT. DAY - MARSEILLES HOTEL LOBBY

Ottokar and Alexander check in. A pervasive sense ofanxiety. People in the lobby follow the latest reportson the war in newspapers and on the RADIO. A BELLBOYtakes their luggage, but when Alexander follows him tothe elevator, Ottokar stays behind.

OTTOKAR

Ill be up shortly.

INT. DAY ALEXANDERS HOTEL ROOM

The bellboy deposits the luggage and opens Frenchdoors onto the balcony. Alexander wanders out absent-

mindedly.BELLBOY #1

Au revoir, Monsieur.

EXT. - BALCONY

Alexander stands at the balustrade, too lost inthought to be impressed by the magnificent view of thecity and harbor. Theres a KNOCK on the door.


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ALEXANDEREntr.

INT. - HOTEL ROOM

BELLBOY #2 arrives with lunch.

ALEXANDERWhat is all this?

BELLBOY #2The gentleman you checked in

with ordered you lunch. Wherewould like me to put it,Monsieur?

ALEXANDERI dont know the balcony?

EXT. - BALCONY

The bellboy sets a table on the balcony and lowers acanopy for shade. Alexander sits to eat, with littleenthusiasm. Theres a KNOCK, and the door opens.

INT. ROOM

Ottokar enters with HERR GRAU, a man in his 40s withan oddly misshapen face - not unattractive due to hisanimated features. His black, slick-looking hair,

moustache and beard appear almost artificial, as ifstuck on haphazardly to hide a war wound or deformity.

Alexander gets up in his chair at their approach.

OTTOKARSorry to disturb.

HERR GRAUPlease sit down. Ive beenanxious to meet Prince Syneksson. Ive heard so much aboutyou. Allow me to introduce

(MORE)


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HERR GRAU (CONTD)myself...

(bowing)Herr Anton Grau, at your service.

Alexander, still standing, shakes Herr Graus hand.

HERR GRAUNow please, enjoy your lunch.Weve come at an inopportune time.

ALEXANDERIm not really hungry. You

mentioned my father! How is he?

HERR GRAUQuite all right the last time

we spoke, a few days ago. Iunderstand from Ottokar thatyou spoke with him yourselfjust yesterday.

ALEXANDERYes, but the connection was sobad, it was hard to hear.Sounded like a battle going on.

HERR GRAUWell, I doubt that. Your parentswere safe and in good health whenwe spoke. Everything seemed to begoing according to plan.

ALEXANDERNot everything!

HERR GRAUAh yes, Ottokar explained whathappened in Vaduz. Mostunfortunate. And most unwise.

Alexander sits down dejectedly.


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HERR GRAU)But the Bachers have shown anamazing capacity for overcomingadversity. Im sure theyll

manage again somehow.

This attempt at encouraging Alexander having failed,Herr Grau takes another tack.

HERR GRAUDo you see that small island?

ALEXANDER(half-heartedly)

Where?

HERR GRAU(pointing)

Over there, beyond the harbor.

INSERT ISLANDHERR GRAU (O.S.)

The Count of Monte Christo washeld prisoner there. The entireisland was a fortress hewn intothe rock: the Chateau dIf.

BACK TO SCENE

Alexander is mildly intrigued.

HERR GRAUWould you like to see it?

ALEXANDER...I guess so.

HERR GRAUGood. Finish your lunch, and geta good nights sleep. First thingtomorrow well rent a boat andspend the day inspecting thecastle.


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ALEXANDERIs that all right with you,Ottokar?

OTTOKAR...I wont be going.

ALEXANDERBut - why not?

OTTOKARIm returning to Prague.

ALEXANDERWhat?

OTTOKARI am needed at home. Herr Grau

will look after you yourein good hands. It has beenbeen an honor serving you,

Alexander. All best on yourremaining journey.

Ottokar extends his hand but Alexander emotionallyturns away. Ottokar places it on the boys headinstead. When he turns around, Ottokar is gone.

HERR GRAU...It hasnt been an easy timefor you, has it?

ALEXANDERWhat do you know! You and yourCount of Monte Christo!

He angrily pushes away the food, then wipes tears fromhis eyes with his napkin.

ALEXANDER...Im sorry. I didnt mean it.

HERR GRAUI know you didnt, Alexander.


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Sensing Herr Graus genuine goodness, Alexander leansagainst his chest, sobbing uncontrollably.

INT. DAY ALEXANDERS HOTEL ROOM

Shuffling through the clothes in his suitcase as hedresses for the boat trip, Alexander finds a smallphoto album. He sits down on the bed and opens it.

INSERT PHOTOS

of his parents in formal poses; several of him atvarious ages; a couple of the servants, includingMartha; and one of Ottokar standing proudly beside theblack Stutz.

BACK TO ALEXANDERlooking pensive, then surprised, as he comes upon aloose photo slipped into the album upside down. Heturns it over; its a...

INSERT PHOTO

...close-up of Rachel.

BACK TO ALEXANDER...holding back tears, until he hears a KNOCK at thedoor. He stuffs the album in the suitcase andcontinues dressing. Another KNOCK.

ALEXANDEREntr!

Herr Grau enters, looking more somber than before.

ALEXANDERI'm almost ready.


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HERR GRAUTake your time.

Alexander grabs a jacket and goes to the door.

HERR GRAUYou won't be needing the jacket.

ALEXANDERBut you said to dress warmly.

HERR GRAUA change in plans, I'm afraid.I'll explain on the way.

Alexander leaves his jacket behind and they depart.

INT. DAY - HOTEL LOBBY MAY 12, 1940

As the elevator doors open, a scene of near bedlamgreets them. Guests and hotel personnel scurryingabout, suitcases stacked everywhere. Alexander gazesin amazement at the tumult.

ADULT ALEXANDER (V.O.)The Germans had invaded France. As

for Herr Oberstaatsanwalt Bachersimpenetrable Maginot Line, theWehrmacht simply swept around it.

Herr Grau guides Alexander through the hectic lobby tothe door.

EXT. DAY - MARSEILLES STREETS

Military and civilian traffic HONKING its way througha mass of pedestrians tourists, locals, soldiers andrefugees - hurrying in all directions. Herr Grau and

Alexander work through the teeming crowd.

INT. DAY - UNION HALL


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An auditorium has been turned into a makeshift refugeecenter, even more crowded than the streets and dividedinto two groups: a staff of nurses, doctors, andordinary volunteers; and the refugees - men, women and

children - some being checked in, some treated forinjuries, others receiving food or emotional support.

A sagging banner on the wall reads: Jewish RefugeeCommittee. With Alexander at his side, Herr Grau isgreeted by staff members and pitches in to help.

ADULT ALEXANDER (V.O.)All at once, my personaltroubles seemed so trivialin this suffering multitude.

An elderly woman, FRAU DIENST, says something to HerrGrau in the cacophonous din.

HERR GRAUAlexander, Frau Dienst says theycould use some help at theserving table. Are you willing?

ALEXANDERYes, of course!

FRAU DIENST

This way please.

He follows her to a long table where volunteers areserving an endless line of people a roll and soup.Frau Dienst hands Alexander an apron and instructs himin the simple procedure. As he takes his position inthe serving line, he looks around for Herr Grau...

HALL POV ALEXANDER

...and spots him in the crowd, issuing instructions toa subordinate, then comforting a crying child. HerrGrau looks up, sees Alexander and waves.

BACK TO SCENE


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Alexander waves back.

FRAU DIENSTSuch a wonderful man!

ALEXANDERPeople seem to treat him withsuch respect.

FRAU DIENSTHerr Grau is the head of theJewish Refugee Committee.

Impressed, Alexander resumes his serving duties.

INT. NIGHT STREET CAF

Though the chaos outside continues, the SOUNDS aremuffled by MUSIC and ambience in the caf. HerrGrau sits with Alexander, who picks at his food.

HERR GRAUCome on, now. Eat, eat.

ALEXANDERIts hard to swallow food,

after what Ive seen today.

HERR GRAUI know the feeling, but if

were to help all these people,we need to stay healthy ourselves.

ALEXANDER(taking a bite)

With all your responsibilities,Herr Grau, why are you paying so

much attention to me?

HERR GRAUI would do much more, for thatextraordinary father of yours!

(MORE)


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HERR GRAU (CONTD)You have no idea how many people,Jews and gentiles, he has saved.

ALEXANDERI know about some of it.

HERR GRAUYes, I suppose you do.

(seeing that hes finished)Thats better. So, now drink upand then its off to bed with you.Its back to work bright and earlytomorrow.

Alexander gulps down his drink and they head for thedoor, stopping to observe the hubbub outside, beforedisappearing into it.

INT. DAY/NIGHT - UNION HALL - MONTAGE

A) Alexander at the serving table, dishing out soup.

ADULT ALEXANDER (V.O.)The next six weeks I worked at therefugee center morning and night.

B) Alexander in the soup kitchen preparing food inaccordance with the Jewish laws of kashrut.

ADULT ALEXANDER (V.O.)I learned about kosher dietarylaws, the separation of meatand dairy, the prohibitionagainst pork and shellfish andthe consumption of blood.

C) Alexander assisting in the used-clothing section.

ADULT ALEXANDER (V.O.)I must admit, it wasnt entirelyselfless labor. Always in the

(MORE)


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ADULT ALEXANDER (V.O. CONTD)back of my mind was the hope thatsome day, somehow, Rachel wouldbe among the hundreds of refugees,

most of them Jewish, streamingevery day into the center aheadof the German armies.

D) Alexander helping a nurse bandage a wound. HerrGrau stops by and pats him on the back, as a newgroup of anxious refugees enter the hall.

ADULT ALEXANDER (V.O.)Like the refugees, I knew thatif the French didnt issue themexit visas in time, they wouldbe trapped behind German lines.

A woman resembling Rachel, with a dirty face andtattered clothes, is among the latest batch ofrefugees. Alexanders eyes open wide at the sight.

ALEXANDERCan you excuse me a moment,Isabelle?

He makes his way toward the entrance for a better

look. Herr Grau watches him approach the girl,whose back is turned. When she turns to talk toanother refugee, its not Rachel after all.

INT./EXT. DAY HOTEL LOBBY JUNE 5, 1940

Alexander stands at the front desk, listening to newsof the war on the RADIO. The lobby, now emptied of

most of its guests, is far from deserted, having beenturned into a makeshift army post, with militarypersonnel streaming in and out.

RADIO ANNOUNCER(in French)

We now have confirmation that(MORE)


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RADIO ANNOUNCER (CONTD)German troops have crossedthe Somme and are advancingtoward Paris. Although fierce

resistance is expected as theWehrmacht nears the Frenchcapital, France is now inimminent danger of becoming thelatest European nation to fallvictim to Nazi aggression.

Though Alexander is too engrossed to notice, throughthe revolving-door we see a taxicab pull up, and anunusually agitated Herr Grau step out. When thebellboy (who took Alexanders suitcase when he firstarrived) starts to carry luggage into the hotel, HerrGrau stops him, barks some orders, and the bellboyhurries through the entrance and up to the front desk.

BELLBOYMonsieur, Herr Grau urgentlyrequests that you pack yourthings and meet him outsideimmediately.

ALEXANDERHerr Grau? Where is he?

The bellboy gestures outside. Through the door,Alexander sees Herr Grau talking to the driver of thefirst of three buses that have pulled up in front.

BELLBOYPlease, Monsieur. He saystheres no time to lose!

INT. DAY - HOTEL LOBBY

The elevator opens. The bellboy, with Alexanderssuitcase, precedes him hurriedly toward the entrance.

EXT. - HOTEL LOBBY


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Alexander exits the hotel with the bellboy. Herr Grau,who has developed a twitch, stops talking with peopleat the buses and rushes over.

HERR GRAUIts about time!

ALEXANDERWhats going on, Herr Grau?Why all the

HERR GRAUDont talk! You will be takingthe bus to Banyuls-de-Mer. Iverented the entire Hotel de laPoste for you and other refugees.You will be only a jump from PortBou. I dont have your transitvisas to Spain and Portugal yet,but your American papers are inorder. Is that clear?

ALEXANDERBut what about my parents? Myfathers plans?

HERR GRAU

The Nazis have changed them.Your parents will still bejoining you, but in New York.

ALEXANDERNew York? But -

Herr Grau tears an envelope from his jacket and sticksit into the pocket of Alexanders overcoat.

HERR GRAUThis contains all your papersand enough money to see youthrough your journey. Hold ontoit for dear life, as the

Americans say. Now go, go!


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He pushes him toward the rear door of the bus.

ALEXANDERWill I be seeing you again?

HERR GRAUI dont know. Were all refugeesnow!

He kisses Alexanders forehead and shoves him aboard.

INT./EXT. - BUS

As the doors close and the bus drives off, Alexanderis thrown off balance but catches himself and lurchesup the aisle in a daze, looking for a seat. We seeseveral Marseilles REFUGEES among the passengers.

REFUGEE #1Hi, Alexander.

Alexander nods to him and others who acknowledge himas he moves through the packed bus.

REFUGEE #2Theres a seat up front,

Alexander. Behind the driver.

Across the aisle from the empty seat behind the BUSDRIVER sit two girls, looking at the eerily desertedstreets of Marseilles. As Alexander puts his suitcasein the luggage rack and sits down, one of the girls hair matted, clothes tattered and face wan - turns.

RACHELAlexander!

ALEXANDERRachel!

They spring up and fly into each others arms. Whenthe bus makes a sharp turn, the BUS DRIVER, a middle-aged French Jew, smiles and shouts at them.


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BUS DRIVERAsseyez vous![Sit down!]

The GIRL sitting next to Rachel, a tall blonde inpigtails, gets up and switches seats with Alexander.

RACHELI cant believe it!

ALEXANDERI cant either!

They hold each others hands and stare into eachothers eyes as the...

EXT. - BUS

...winds along the coast ahead of the other two buses.

INT./EXT. NIGHT - BUS

Rachel pulls a blanket tightly around them as shenestles against Alexander in the dimly lit bus.

RACHEL...Of course, the Wehrmachtcancelled my fathers vacationplans. We escaped to France withsome other refugees through the

mountains, on foot.

ALEXANDERDid your parents make it?

RACHELBarely. My mother suffered arelapse.

ALEXANDERSo where are they now?


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PORT BOU 88

RACHELStill in Marseilles I think.When we got there early this

morning and checked in at the

refugee center, this agitatedman who seemed to be in charge -

ALEXANDERA thin man with slick dark hair,a funny-looking moustache andbeard?

RACHELYou know him?

ALEXANDERHerr Grau.

RACHELThen thats it! He looked at

me so strangely when he heardmy name. He got very excited,took me aside, and asked whereId come from and who my parents

were. When I told him my lastname, he shouted something aboutChildren first! and whisked me

onto this bus. He said my parentswould be in the next caravan.Next thing I knew, there you were!

ALEXANDERHerr Grau was a good friend of

my fathers. Hes been lookingout for me ever since I gotto Marseilles six weeks ago.

RACHELThank God for Herr Grau!

ALEXANDERYes, thank God!


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He kisses her head; Rachel, his hand, and they snugglemore tightly as the bus rumbles on into the night.

INT. DAY - BUS

Alexander wakes up, sees that Rachel is still asleep,and looks outside.

EXT. DAY ARLES POV ALEXANDER

The city is awash with refugees, some on trucks, someon carts, most on foot.

ADULT ALEXANDER (V.O.)Where had all these people comefrom? I knew from Herr Grau thatfew of them had visas, becausethe Fre

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PORT BOU © (Screenplay)