Julia (1977) Script

(bird squawking)

WOMAN: (narrating) Old paint on canvas, as it ages, sometimes becomes transparent.

When that happens, it is possible in some pictures... to see the original lines.

A tree will show through a woman's dress.

A child makes way for a dog.

A boat is no longer on an open sea.

That is called pentimento, because the painter repented, changed his mind.

(squawking continues)

(train whistle blaring)

NARRATOR: I'm old now, and I want to remember... what was there for me once and what is there for me now.


It's not working again, Dash.

It's falling apart again.

Put on your sweater. Bring some whiskey.

I'll build a fire, and we'll start dinner.

Don't forget the smokes.

I'm not here to take orders! I want advice.

You're a big-shot writer.

You're not a general, Hammett, and I ain't the troops!

If you really can't write, maybe you should go find a job.

Be a waitress. (chuckles)

What about a fireman, huh? You could be chief.

It's not a bad idea, you know? Little town somewhere‒ find yourself a little fire station, a hat.

I'll be the mayor. Why should you be the mayor?

Well, someone has to appoint you if-

I'm in trouble with my goddamn play, and you don't care!

Just because you stopped writing doesn't--

(liquid pouring)

Tell you what, Lilly. I'll send you on a trip to Paris.

I don't wanna go to Paris.

Why not? I hear it's a swell town.

Finish the play there. Have a little fun. Visit your friend Julia.

You know damn well Julia's not in Paris.

Well, wherever she is.

Go to Spain. There may be a civil war in Spain. You'd help somebody win it.

(laughs) You're scrappy. I'm not scrappy. Don't call me scrappy.

You make me sound like a neighborhood bulldog.

You are the neighborhood bulldog, Lilly!

'Cept you got some cockeyed dream about bein' a cocker spaniel.

I can't work here.

Then don't work here. Don't work anyplace.

It's not as if you've written anything before, you know.

Nobody'll miss you. It's a perfect time to change jobs.

You're the one who talked me into being a writer, Dashiell.

You're the one who said, "Stick with it, kid. You got talent, kid!"

You soft-soaped me with all that crap!

And now look at me.

If you're gonna cry about it, go stand on a rock.

Don't do it around me.

(inhales) If you can't write here, go someplace else.

Give it up. Open a drugstore.

Be a coal miner.

Only just don't cry about it!

LILLY (narrating): I think I have always known about my memory.

I know when the truth is distorted by some drama or fantasy.

But I trust absolutely what I remember about Julia.

(clock ticking)

(clock tolling)

Happy New Year, Grandmother.

Happy New Year, Julia.

Happy New Year, Grandfather. Hmm?

Why did we have sherbet in the middle of the meal?

It clears the palate between the fish and the meat.

Who's that? It's my mother.

LILLY: My God. JULIA: She just got married again.

Where does your mother live? In Scotland.

My mother owns a very fancy castle. Have you been there?

Once. What's it like?

Full of fancy people with fancy titles.

Who were they? I don't remember. They didn't interest me.

They're all very rich and famous.

They just said hello to me, and I don't remember.

♪♪ (orchestra: "My Blue Heaven")

Happy New Year, Julia. Happy New Year.

♪♪ (ends)

I am... Paris.

I am Paris, and I am a string of beads.

I am Paris, and I am a string of beads on a hot dancer.



I am Paris, and I am a string of beads on a hot dancer, and a romantic Frenchman comes into my room.

And he carries me off into the dark, Parisian night.

(laughs) And takes me to his villa.

(speaking French)

What happened? (laughing)

Oh, I'm in ecstasy! What happened?

You'll have to learn French.

(both laughing)

ADULT LILLY: I am Paris. (both laughing)

JULIA: I am Paris, and I am a string of beads.

(Whispers) No, wait a minute. No.

I am Paris, and I am a string of beads on a hot dancer.

I am Paris. I am a string of beads on a hot dancer, and outside it is Renoir and Degas.

I am Paris, and I am a string of beads on a hot dancer, and outside it is‒ Renoir.

Renoir and Degas,

and inside it is hard and hot.

(giggling) I don't care.

(clock tolling) I don't care.

Happy New Year, Julia. Happy New Year, Lilly.

(tolling continues)

LILLY (narrating): I cannot say now that I had ever used the words... gentle or strong... or delicate.

But I did think that night... that it was the most beautiful face I had ever seen.

Maybe I could do better work someplace else.

Dash? (mutters)

If I were to go to Paris and work‒ Are you awake? (grunts)

Dash, do I keep you from writing?

No. Sleeping, Lilly. You keep me from sleeping.

YOUNG LILLY: But what about Paris? What about Rome?

YOUNG JULIA: You aren't listening! YOUNG LILLY: I am listening!

(horn blaring)

(horns blaring)

(brakes squealing)

(greetings, indistinct)

Please tell me what's the matter.

I don't want to be here, not with them.

I hate them. Why?

(horse whinnies)

They took me to see Cairo.

They told me how beautiful Cairo would be, but it wasn't.

I said to my grandfather, "Look at those people. They're hungry.

They're sick. Why don't we do something?"

And he said, "Don't look at them."

I said, "But they're sick."

He said, "I didn't make them sick."

What about Paris? What about Rome?

You aren't listening! I am listening!

Where my mother lives, the servants live under the ground‒ Eighteen people in three rooms, no windows, one bathroom.

It's wrong. It's wrong, Lilly. Do you understand?

JULIA: I heard from Oxford, from medical school.

I was accepted! LILLY: When will you go?

JULIA: At the end of the summer!

♪♪ (dixieland)

MAN: All ashore that's going ashore. You'd better go.

(people shouting farewells)

When are we gonna see each other again?

It'll be so long.

Think of it this way-- When we do, we'll have everything to talk about.

All ashore that's going ashore! Please write me.

You know I will.

Work hard. Take chances.

Be very bold. Do you hear me? (bell clanging)

All ashore that's going ashore! Good-bye.


LILLY (narrating): I wasn't to see her again for a very long time, until I went to visit her at Oxford.

There are women who reach a perfect time of life... when the face will never again be as good, the body never as graceful or powerful.

It had happened that year to Julia.

Do you have lots of friends? Not many.

Do you get to the theater? No, there isn't time.

But we always went to the theater.

When you write your play, then I'll go again.

How is your writing? Oh, I'm still at the publishing house.

I wish I could write full-time.

Do you have a beau? No. Do you?

Well, I think maybe I found somebody.

And you? I did, but it didn't work out.

What are you reading now? Darwin, Engels, Hegel, Einstein.

Do you understand Einstein? Sure.


Will you come home next summer? No, I'm going to Vienna.

I'll finish my medical studies there, and then I'll apply to study with Professor Freud.

Can you do that? I mean, I know you can do that, but Jesus. I think so. There's a chance.

I think he will accept me. Lilly, you have to come to Vienna.

Then you'll know what to write about.

People are coming alive there‒ working people who've never had a chance before.

They've built their own part of the city in Floridsdorf.

They've got their own orchestra. The newspaper's the best in Vienna.

Lilly, finally there's some real hope in the world.

Do you understand?

Yes, of course.

LILLY (narrating): But I didn't understand.

Not fully. Who of us did?

She wrote me from time to time.

She went on to study medicine at the university in Vienna.

And as the years went on, she wrote angrily of the threat of fascism... and of the Nazis, of Mussolini and Adolf Hitler... and of the holocaust that was on the way.

She couldn't understand why the world refused to see what was coming.

I decided to accept Hammett's offer... to see if I could do better work away from home.

I went back to Europe, to Paris.

Julia? It's Lillian!

Is that you? It doesn't sound like you.

(laughs) I can't believe it. It's been so long.

Didn't you get my messages? I've been trying to get you for weeks.

I'm fine. I'm in Paris.

When can I see you?

I'm finishing my play. Didn't you get my letter?

Are you okay?

What's difficult?


Well, I'll‒ I'll come to Vienna.

Why not?

Well, how‒ Well, how about halfway?

I'll meet you halfway.

Yes. Hotel Jacob. I won't leave until I hear from you.

Are you all right?




(chattering) (footsteps)

(chattering continues) (Whistles blowing)

(crowd chanting) (Whistles blowing)

(siren wailing)

(shouting) (screaming)

(siren wailing) (commotion continues)

(shouting) (siren wailing)


LILLIAN (narrating): Dear Dash, I try to concentrate on my play, but I‒ I feel sick.

There's no reason for my nausea other than fright.

There's something very evil here, Dash.

Something frightening and evil, and I think it will affect all our lives.

And it's not only in Paris. (crowd chanting) Sieg heil! Sieg heil!

LILLIAN: What's gonna happen to Julia?

She's still studying in Vienna.

(chanting continues)



(screams, shouts)

(man protesting in distance)

(man laughing)

(laughter continues)

(men shouting) Ein, zwei, drei!

(body thudding) (celebratory shouts)

(shouting continues)

JULIA (shouting): No! They've got our friend!

(chattering) JULIA: No! Look at that!

Get out! Get out!

You‒ You bastards!

Get out!

Julia. (machine-gun fire)


(gunfire continues)


(knocking) WOMAN: Telephone.

Mademoiselle, telephone! (knocking continues)

They call from Vienna!

What happened?

Oh, my God! How serious is it?

Of course I'm coming! Please, tell her-- Tell her I'm coming!

Yes, where do I go?

(brakes squealing)

(bell tolling)

(Woman moaning)


Your Freundin.

(cries out) (hurried footfalls)

(feeble moan)

(speaking German)

What? (German)


Fräulein! (speaking German)

Hotel Imperial.

(German) A reservation at the Hotel Imperial?

Ja. Thank you.

So good to have you with us, Fräulein.

Who made the reservation? Oh, yes, uh, Herr Von Fritsch, Fräulein Hellman.

He wants me to tell you that everything is arranged, and you will be comfortable and well. Is, uh, Herr Von Fritsch in this hotel? No, Fräulein. He's not.

Well, how can I reach this Mr. Herr Von Fritsch?

I do not know, Fräulein. He came and went very quickly.

(rings bell)

(German) (speaking German)

She's resting from the operation.

Will you come tomorrow, please? LILLIAN: What operation?

Excuse me. What operation? She's resting.

I don't understand what you mean. Come tomorrow, please.

What operation? Come back tomorrow.

No, I will not come back tomorrow! I will wait right here!

(door opens) WOMAN: Fräulein.

(baby crying)

I-I don't know what you mean.

I don't know what you mean.

(baby's cries continue)

(baby crying)

(no audible dialogue)

Where is she? Treatment.

What's happened? Treatment.

Psst. Fräulein!

(Whispers) Danke.

JULIA (reading): Go back to Paris fast.

Leave your address at the hotel.

They will take me now to another place. Love, Julia.

LILLIAN: (narrating) I stayed in Europe for months trying to find her, waiting for some word from her.

But there was no sign. (door banging)

Please speak more slowly! I cannot understand you!

Wa‒ Wait. Attendez un instant.

Do you speak German? Parlez Deutsch? Ah, no.

Excuse me, madam, but I speak German.

They say she was never there, madam. They have to have her name!

Tell them I saw her. I was there.

(speaking German)

Einen moment.

No, madam. She was never in that hospital.

But I saw her! They have to know where she went.

Madame, they do not even know the name.

LILLIAN (narrating): I gave up trying to write the play and went back home.

Not long after that, I received a letter... postmarked "Vienna. "

I could write her in care of a post office box in London.

She said not to worry and that one day... she knew we would see each other again.

I tried to finish my play.

It's gonna snow, Dash.




(dog barking in distance)

Mmm. (barking continues)

You wanted to be a serious writer.

That's what I liked. That's what we worked for.

I don't know what happened, but you'd better tear that up.

Not that it's bad. It's just not good enough.

Not for you.


(gulls squawking)

It's the best play anyone's written in a long time.

Are you sure?

I'm positive.

But are you sure?

(pats knee)


(diners applauding)

(cheering) Bravo!

(chattering, indistinct) Congratulations, Miss Hellman.

(applause, cheers continue)

Bravo! Bravo!

Lillian, it was beautiful.

This is Max. I made him come down and see it.

Bravo! Bravo!

That was a play to be proud of. Wonderful.

(shouts) Dash?

I hope I woke you up from a sound sleep.

Wanna hear the good news? (chuckles)

They think I'm wonderful.

I'm the toast of the town.

Everybody came.

You had to go to Hollywood.

Of course I'm drunk.

Been drunk for two days.

How the hell do you think I got through this night?

Who's in bed with you, Dash?

No, I won't send you the reviews!

Ye‒ But-- Dash.

The second act was fine! You were right about everything.

But you know that.

When are you coming home?

(horn honking)

LILLIAN (reading): Dear Julia, I sent you a copy of my play. Did you ever get it?

It opened on Broadway, just as we always pretended it would.

They liked it.

I only wish you'd been there.

Maybe I wouldn't have had to get so drunk.

I haven't heard from you in such a long time.

(horn honking)

Royalties, Hammett!

More royalties!

(chattering, indistinct)

I could buy a sable coat. If that's what you want.

I have a right to have a sable coat.

Maybe I ought to give my money to Roosevelt.

You could do that too. (sighs)

I'd look swell in a sable coat. (clicks tongue)

Dash? Hmm?

I like being famous.

You know what happens when I go shopping for groceries now?

I'm famous.

I buy mayonnaise, and I'm famous.

I get letters from people in Idaho.

I don't even know where Idaho is.

You're not listening to me. I'm listening to you, Lilly.

Dash, I don't want you to think I just care about sable coats.

I know that, Lilly.

You've been famous a long time, Dash, and it never seems to bother you.

(sighs) Ohh! Aargh!

This is a dopey conversation!

It's only fame, Lilly.

Just a paint job.

If you want a sable coat, buy one.

Just remember, it doesn't have anything to do with writing.

It's only a sable coat and doesn't have anything to do with writing.

Well, you'll never find anybody who fishes better than I do.

No. Never. Not as long as I live.

Why won't you come to Russia with me, Dash?

I don't wanna go to Russia.

Why not? Don't you wanna see the Russian theater?

I don't give a damn about the Russian theater.

Oh, come on. Come with me to Russia, Dash.

We could stay in Paris for a while first.

See the Eiffel Tower.

Come on.


(Lillian grumbling)

Now you've been invited to Moscow?

What is that? Some sort of political thing?

(chuckles) Not exactly. No, Anne Marie, it's, uh‒ It's only a theater festival.

Oh, did you know about the McPhee boy, the little one?

He was killed in Spain. Imagine having your brother die a Communist.

I'm sorry he lost his life, but I wonder why they rush over there.

By the way, I tried to see Julia in Vienna, but she wouldn't see me.

She's leading a strange life, pretending not to be rich, doing something called anti‒ uh, antifascist work.

Didn't she drop out of medical school?

Yes. Do you ever hear from her?

Well, I'm glad you had time to see me.

You look so very slim, Lillian.

(scoffs) Thank you, Anne Marie.

Imagine, Russia. My God, of all places.

♪♪ (big band: "Night And Day")

♪♪ (continues)

Where is he now? He keeps moving.

MAN: By the post.

He just stands there! He doesn't wave.

Let him stand there if he wants to. We're goin' to Paris, Lilly!

Where's the wine steward?

(ship horn blaring)

He's waving. Look. By God! He's tilting his hat!

LILLIAN: Does Julia live there, or doesn't she?

Well, would you give her a message?

Message! Oh!

Does anybody there speak better English?

Sprechen better English?

No. No. I want somebody better than you!

All right. Yes. All right. Would you please tell her Lillian‒ Lillian is in Paris at the Hotel Meurice. (knocking)

I'll be here for two weeks. MAN: Lillian!

Then I'm going to‒ Just a second, Alan! (knocking continues)

I'm going to Moscow, and I can come to Vienna to see her.

(knocking continues) Hello.

Hello! Oh, uh‒ Just a‒ (knocking continues)

(Alan speaking, indistinct) Alan, just a minute!

God, why don't you break the damn door down?

It's 20 after 8:00, and we're due at the Murphys' for cocktails at 8:30.

Oy vey. Hold on. You missed a button. Here.

Alan. (clicks tongue) Well, now, who were you talking to?

Dottie, would you button up this damn thing? Sure, darling.

We'll be half an hour late. Supposed to have supper at the Rothschilds'.

Would you tell him to settle down, for God's sake?

He's afraid we're gonna miss Hemingway.

Who were you talking to on the phone? Hemingway? Hemingway?

Yeah, he's coming up from Spain.

ALAN: Say, you have an invitation to Louise de Vilmorin's.

Dottie, did we get an invitation to Louise de Vilmorin's?

Would you tell him to get out of my things, Dottie?

Get out of her things, Alan.

Hemingway, huh?

Yes. Hemingway and Cocteau in his red necktie... and the crème de la crème. Way down deep, he's very superficial.

Oh. (mutters)


♪♪ ("La Cucaracha")

(no audible dialogue)

♪♪ (ends)



Oh, my. I forgot to turn in my key again.

Will you never stop doing that? (laughs) I always forget.

You go up. Huh?

You go ahead. I'm gonna see if there's any messages.

Bonsoir. Or bonjour.

Good morning, madame. Hellman, deux vingt-huit.

Merci... beaucoup.

(laughing) Don't overdo it, darling.

Bonjour, garçon. (sighs)

Oh, merci. You are welcome, madame.

Madame Hellman? Yes?

I've come to talk to you about the tickets... and your travel plans.


Miss Julia has asked me to see you.

I have your travel folders.

What-- What's the trouble? Has something happened to Julia?

Do you think I could have an egg, a hot milk and a roll?

I could not pay for it, however.

Um, yes.

Uh, hello.

(speaking French) Yes. We'd like just some breakfast, please.

Thank you.

Thank you very much.

JULIA'S VOICE: This is my friend, Johann.

He will tell you what I need, but I tell you, don't push yourself.

If you can't, you can't. No dishonor.

Love, Julia.

Oh, I'm sorry.

I'm sorry I could not pay for myself.

But someday perhaps.

Yes. Perhaps. I'm sure. Someday.

Thank you for the fine breakfast.

Could we walk in the Tuileries now?

Yes. Waiter.

I cannot take long. Time is too short, and there is much to do.

So if I'm not cordial, you will understand.

Yes. Of course.

You're very cordial. I think you're very cordial.

You're going to Moscow by way of Vienna.

Yes. We would like to change your travel plans.

We would like you to travel by way of Berlin.


You would have to leave immediately.

You would need a German visa.

You would stay a short time in Berlin and then change trains there to Moscow.

I'm sorry, but you're not being clear.

We would like you to carry for us $50,000.

We think you're safe, but we cannot assure you of this.

The money is Julia's money. With it, we can bribe out already many in prison... and many who soon will be.

I better explain. We are small group who work against Hitler.

We are of no common belief or religion.

The people who you will meet for the money, if your consent is given, were some small publishers.

We are Catholic, Communist-- many beliefs.

Do you understand what I'm saying? Yes. Yes.

We realize you are not the best person... for this kind of mission because you're Jewish.

But unfortunately, there's no one else we can ask.

Julia said I must remind you for her... that you're afraid of being afraid, and so you will do what sometimes you cannot do.

That could be dangerous to you‒ and to us.

So, p-please, try not to be heroic.

I assure you, I would never try to be heroic.

Please, could we get a drink?

No. I'm sorry. Sorry. The time is too short.

So, will you help us?

I, uh‒ I need a few hours... to think it through. I need to think it through.

It is best not to be too prepared for matters of this kind.

Yes, I know that, but I‒ I need to think it over for a while.

Julia would want it that way.

There is a train at 6:30 this evening... to Berlin from the Gare du Nord.

I will be there. Gate number 5.

If you agree to carry the money for us, you will s-say hello to me.

If you decide it's not right for you‒ No, I haven't decided that. I just need‒ I need time to think it over.

If you decide it is not right for you, For a while.

Then pass me by.

Otherwise, you will simply say hello, and then I will tell you what is necessary.

Hello? I just say hello?

Yes. Just hello.

Where will you be?

Don't worry. I will find you.

But please, madame, if you cannot do it, do not do it.

Please stop saying that.

(children chattering)

Thank you... for the tour.

Thank you for the wonderful morning.

(children chattering)

YOUNG JULIA: Lilly, you don't have to come this way. Go down under.

Wade across.

Lilly, you don't have to come this way.

Go down under. Wade across.


Just hold tight.

Pull yourself.

I can't.


(squealing, shouting)

(breathing heavily)

I'm sorry.

It's all right. You'll do it next time.

WOMAN: Why'd you change your plans?

It was just an impulse. I‒ I thought it would be pleasant to see Berlin.

I thought I'd be able to stay more than a few hours.

You are going to Moscow.

So regulations permit only that you will have a transit visa.

Why is that?

There you are.

Your train tickets, madame. Thank you very much.

And where is my trunk? It's on the way to the station, madame.

It will be put on the train.

Did the Campbells get my message? Yes, madame.

Thank you very much. Here. Thank you very much.

Have a good trip, Madame Hellman.

Thank you.

(grunts) (barking)

Yes, yes. Here, here.

Do you think you can be invisible?

What does this mean, you're leaving us, you'll find us again after Moscow?

I'm in a hurry. I can't explain. Lilly, what's wrong?

Nothing's wrong. I've changed my plans. I've had enough partying, and I'm gonna leave.

It's not like you to be so mysterious. I'm late. I gotta go.

Well, we'll see you to the station. No, Alan! No!

I don't need you. I'll call you from Moscow.

Alan, why are you doing this?

Because our friend Lilly's gone berserk. What am I supposed to do?

(horn honks)

LILLIAN: Alan, please.

What gate? (speaks French) It's Gate 5.

Where's your ticket? Let me have your ticket.

You don't need to come in with me. Let me have your ticket.

Oh, God. I'm late already. I'm gonna miss my train.

MAN ON PA: Attention. Attention.

Quai numéro 5. Départ imminent... du Nord-Express à destination de Moscou via Berlin.

By way of Berlin? Why are you going by way of Berlin?

I thought you wanted to go to Vienna to see your friend Julia.

I-I never heard from her. Darling‒ Say good-bye to me here. Now, Lillian, you know what they do to Jews in Germany.

ALAN: Say, isn't that the man I saw you with in the Tuileries today?

Is he a friend of yours or something?

Mr. Johann. Mr. Johann.

No, please! Don't go away.

I just wanted to say hello to you, Mr. Johann. Hello.

These are friends of mine.

This gentleman says he saw us today in the gardens.

Now he's gonna ask me who you are, and he's gonna say he didn't know... we knew each other so well that you would come say good-bye to me here.

I wish I could say that it was true, but, uh, I came here to seek for my nephew who is en route to Poland.

He's not in his coach. He's late. This is his habit.

His name is Walter Franz. Coach 4, second class.

Since I could not find him, I would be most grateful if you could say to him I came.

What-- What is his name? Walter Franz.

Coach 4, second class.

I'm most glad that I had this chance to say hello to you.

Oh, yes indeed, Mr. Johann. Hello to you. Hello, Mr. Johann.

What funny talk. You're talking like a foreigner.

I'm sorry, Alan. I'm sorry I don't talk as good as you do in Virginia.

I've gotta say good-bye.

(man on PA speaking French):

(Whistle blows)

(coins jingling)

La monnaie est là.

La monnaie est là. (Whistle blows)

(train whistle blows)

Madame Hellman.

I am Walter Franz. Nephew. Car 4, second class.

This is your birthday present from Miss Julia.


JULIA (reading): Open this box, and wear the hat.

When you reach the border, leave the candy box on the seat. Julia.

This is Compartment "F."

Do you not want "F"?

Yes, but I‒ I was‒ I'm going to the washroom.

Um‒ I guess I won't go to the washroom. (hatbox clatters)

Excuse me.

(speaking German) Ja.

May I turn off the light? Yes.

Thank you.


(Woman coughing)

(metal rattles)

(train whistle blows)

Nice coat.

Oh, yes. My coat is‒ is nice. Thank you.

Warm. What fur it is?

It's sealskin.

Yes. It's‒ It's warm.

Your hat is also fur?

I don't know.

I'll look.

Yes. Ah.

Nice with coat. You would put on?

You would put on.


Yes, I will.

Ah, yes. Nice. Nice. Very nice.

It's pretty. Yes.

Thank you. I think I'll keep it on.

MAN: Dîner, premier service. (bell ringing)

Le dîner, premier service.

(speaking German)

Kommen sie mit? Danke. Nein.

I go to eat now. You would like dinner?

But I‒ I don't know when we cross the border.

Border? We do not stop for the border until morning.

There is much time now.

Do not worry about your things. I stay here.

I eat here. It's too much money to pay for food on train.


I think the consommé is the best.

Yes. Fine. Consommé. Thank you.

(train whistle blowing)

You see, I must have hot food for the lungs.

I study in Paris, and I get ill, you see?

I am at the university. I am not well.

I was at a concert one night, and sudden I cannot breathe, you see?

Excuse me. I'm sorry.

J— Je malade.

(paper rustling)

Something wrong?

No. I‒ (clears throat)

I'm just not hungry.

Like some tea?

No, thank you.

JULIA: "Whenas in silks my Julia goes, then, then methinks how sweetly flows the liquefaction of her clothes.

Next, when I cast mine eyes and see... that brave vibration each way free, oh, how that glittering taketh me."

That's his tribute to me.

I love you, Julia.

(train rumbling)

MAN: Douane française. Vous n'avez rien à déclarer?

It comes now, the border. We'll be in Germany soon.

Douane française. Vous n'avez rien à déclarer?


Passeport, s'il vous plaît.

MAN: Douane française. Vous n'avez rien à déclarer?

MAN: Merci.


(man on PA speaking German)

You need your coat and hat. It is very windy.

You don't need the box.

You forgot your hat. It's cold.

Thank you.

(Whistle blows)

If you have a temporary visa, it could take more time than others.

It is nothing. Do not worry.

MAN: Nächste.

MAN: Nächste.

MAN: Rauchen verboten. No?

Das rauchen ist verboten.


Danke schön. Nächste.

Transit visa. Yes.

Hellman. Yes.

You are traveling to Moscow. Why have you stopped in Berlin?

Friends. To see friends. And to see it.

I've never been in Berlin.

Not business? Oh, no.

You cannot see much of Berlin in a few hours.

What is your occupation?

I'm a writer. (clears throat)

Oh, a writer. Yes.

So you would write of Berlin? Oh, no. I wouldn't.

Perhaps your impressions you would write.

My impressions. Yes, I would write of my impressions.

(stamp thumps) All right.

Thank you very much. Nächste.

Heil Hitler. (German)




The customs‒ They take a long time with the luggage.


What are you doing? Thank you. I would like a piece of chocolate.

Pl-Please don't do that. I'm bringing it to a friend. It's a gift.

Most kind. Heil Hitler. (German)

Wollen sie Bonbon?

Nein danke.


Ist gut.

Ist gut. Heil Hitler.

(Whistle blows)

(Whistle blows)

(train whistle blows)

(train rattling)

(engine chugging)

(Whistle blowing)


Berlin‒ (German) Berlin, half an hour, madame.


(man on PA speaking German)

(girls giggling, chattering)

Lillian. Lillian!

Lillian, how good it is to see you.

But how naughty not to stay for more than a few hours.

Give her the candy box.

I've brought a present for you.

When you get outside, look to your left. You will see a restaurant called Albert's.

You will cross the street and go into that restaurant.

Good luck. Enjoy yourself.

Pleasant to see you again.

(tin rattling)

(horn honks)

(tin rattling)


Fine. Fine.

I've ordered caviar. We'll celebrate.

Albert had to send out for it, but he won't be long.

Oh, look at you. Just look at you.

Tell me what to say to you.

It's all right. Everything's fine. Nothing will happen now.

How long do we have? Not long.

You still look like nobody else.

Why do you have crutches?

I've got a false leg.

No tears, Lilly. I'm sorry.

It's done. It's what it is. When?

You know when. You were there in Vienna.

No tears. There's no time. I'm sorry.

Your fingers are cold. Here.

They took the candy box-- a man and a woman.

That's right. Everything's fine.

Now, what I want you to do is take off your hat as if it were too hot in here.

Lilly, listen to me. You're not listening.

I'm listening. I am.

Take off your hat, comb your hair, and put the hat on the seat between us.

Do as I tell you.

Who were you with in Paris? Good friends?

Yes. Good friends. They don't know anything about this.

Take out your comb. Oh, my comb.

Oh, I still carry too much. (chuckles)

There it is. Take it out and use it.

You look so very well.

I read your play. Did you like it? Children's Hour?

I'm proud of you. It was wonderful.

My second one failed. I know. I heard.

So you're writing your third. I'm writing it.

I'm going to the toilet. You come with me.

If the waiter tries to come and help me, you wave him away.

It's all right. I can do it.

The leg doesn't fit properly. I think it belongs to someone else.

It has their initials on it. Oh, my God.

Act gay. Can you act gay?

Ooh. (German)

Albert, diese Dame ist meine beste Freundin.


(lock clicks)

(chattering) (plates clinking)

The German public toilets are always so clean.

So much cleaner than ours in America.


I want you to know that you've been better than a good friend to me.

You've done something important.

We can save 500 people.

Maybe‒ Maybe a thousand if we can bargain right.

Jews? About half are Jews.

Political people.

We can only do today what we can do today.

And today you did it for us.

Do you need something stronger?


Do you have a photograph of Hammett?

Yes. I do. I have one.

I wrote you about him. Did you get that letter?

You get my letters? Mmm. Some.


I like his face. Tell me what he is.

He's remarkable, difficult.

It's not simple together.

I don't know how to describe him.

He's an extraordinary kind of American man.

I want you to meet him. Mmm. I want to. I'm coming to New York.

When? I'll be coming in a few months.

I have to get a better leg.

We have to talk fast now. There isn't much time.

I need you to do something else for me.

I have a baby.

I'll bring her with me when I come to New York.

I want to leave her with you. A little girl.

Where is she? She's across the border in Alsace.

She lives with a baker's family. I can see her whenever I can cross over, but she shouldn't be in Europe.

It ain't a place for a baby these days.

What's her name? Lilly.

She's fat. She's handsome. She's very healthy.

She's nearly one year old.

And I don't even mind that she looks like my mother.

I'll take care of her.

Well, I won't stay away long. I can't last much longer in Europe.

The crutches make me too noticeable.

You won't have to worry about anything. There's enough money.

That doesn't matter. You know that.

The father won't disturb you.

He doesn't want to have anything to do with the baby or with me.

I don't know why I did it. I don't care. The baby's good.

What is it? Why is it like this?

Are you as angry now as you used to be?

Mm-hmm. Yes. I try not to be, but there you are.

I like your anger.

You're the only one who does then.

Don't you let anybody talk you out of it.

The man who's going to take care of you has just come into the street.

He'll make sure you get on the train safely.

And there'll be somebody who'll stay with you till you get to Warsaw tomorrow morning.

I don't want to leave you.

I want to stay with you a few more minutes.

No. Something might still go wrong.

We can't be sure who anyone is anymore.

Now, I want you to stand up, take your hat--

Listen to me. Put your hat back on.

Say good-bye to me and then go.

I'll take care of Lilly. It'll be wonderful.

Put your hat on.

Put the hat on.

Yes. My beloved friend.

(Whispers) Leave.


(tires screech) (horn honks)

Good night. Please follow me.

(bell dings)

Your ticket, please. Thank you.

Take care of yourself. My best to everybody.

Thank you very much. My very best to you, sir. Thank you.

My very best--

Thank you.


Fräulein Hellman. Oui?

You will be asleep when the border is crossed to Poland.

I will put your suitcase outside for the customs.

I will not wake you, hmm?

Thank you. Do you have a trunk?

Yes. I have a white trunk in the baggage compartment.

Ah. I will need the key, please.

Thank you.

MAN: She's turned into a wild socialist, giving away all her money.

I was with Anne Marie in Vienna, and I was really in Elba most of the time.

I'm doing a book on Napoléon. I tried to kill myself in Elba.

Well, you do that every few years, Sammy.

I don't think you should continue with Napoléon, Sammy.

Why don't you try the Wright brothers? Or one‒ One of them.

Try Orville.

What about marriage?

What about it? Still a virgin?

Why don't you marry my brother Eliot?

I gotta go, Sammy. (laughs) You're afraid of me.

You still think I want to get in your bloomers. (laughs)

God, Lilly, if you married Eliot, I'd be your brother-in-law, and Anne Marie would be your sister-in-law. Oy. Oy.

Too late for horror stories, Sammy.

You drink too much. Hey, you're always so tough on Anne Marie.

What did she ever do to you? She's really warm and passionate.

Ask me. I know. By the way, she saw your old friend Julia.

Where? In Vienna. She's turned into a wild socialist, giving away all her money.

Listen, Sammy. You tell Anne Marie... that I don't want to hear any attacks on Julia's belief or on Julia's life.

Not from her or from you.

Good-bye, Sammy. Oh, come on, Lillian!

Anne Marie doesn't hold ill thoughts. You understand about relationships.

Why, Anne Marie and I were a battleground all our lives.

And here's something you don't know. On my graduation day... my little sister cried like an infant.

She took my arm and kissed me and gave me a tender touch.

And within minutes‒ within minutes, Lillian, it was done.

What I'd wanted to do all those years, she had the same ideas as I had... tucked up inside her someplace. Oh, God.

And to this day, of all the girls I've ever had, my sister was the best.

She was thrilling, Lillian. And did I ever suspect what she had in mind?

Not for a minute. Don't look at me like that.

She was 16. She was very complicated.

Come on now. You're so slick, so unruffled.

You have no right to turn up your nose. Your life's no closed book.

No one's scot-free, you know.

After all, the whole world knows about you and Julia.

What does the whole world know, Sammy? Oh.

What does the world know? Oh. (laughs)

Don't be that way. I'm a sophisticated man.

If anybody understands the sex urge of the adolescent girl, it's me.

Did you know that in Paris the women are wearing watches around their legs?

Little garters with timepieces in them.

(Whistle blows)

(man on PA speaking foreign language)


Good morning. Just to say good-bye to you and have a happy trip.

You're across the border now.

Your trunk was removed by the Germans yesterday.

They kept it.

They must be suspicious, but you're in no danger.

Do not return from Moscow through Germany.

Travel another way.

My best regards to your family. Take care of yourself. Bye-bye now.

(Hamlet in Russian)

(Russian continues)

(heartbeat thumping)

(no audio)


(chattering in Russian)

Good night. Good night.





MAN: Julia has been killed.

Please advise Moore's Funeral Home, Whitechapel Road, London, what disposition.

My sorrow for you. My sorrow for all of us.

Signed, John Watson.

And may I say how sorry I am, madam.

These are the documents you will require.

You wish to see her, madam?

There is rather a deep slash on her face, which was difficult to cover up.


This note was left for you.

WATSON (reading): It is your right to know... that the Nazis found her in Frankfurt.

She was in the apartment of a colleague.

We got her to London in the hope of saving her.

None of us knows what disposition her family wishes to make.

We could not reach the grandparents or the mother.

I am sorry that I cannot be there to help you.

It is better that we take our sorrow for this wonderful woman into action and perhaps revenge.

Yours, John Watson, who speaks here for many others.

(Wind whipping)

YOUNG JULIA: I see a gun.

YOUNG LILLIAN: I see a gun, and a handsome soldier's going to shoot it.

JULIA: I see a gun, and a handsome soldier's going to shoot it, but it won't shoot. I see a gun, and a handsome soldier's going to shoot it, but it won't shoot, and the brave, handsome soldier says, "I need another gun."

I see a gun, and a handsome soldier's going to shoot it, but it won't shoot, and the soldier says, "I need another gun," and someone shouts back, "Sorry, soldier. That's the last gun!"

(both giggling) JULIA'S VOICE: "That's the last gun!"

Where can I find, uh, John Watson?

I don't know a John Watson, madam.

Well, you gave me a note. He wrote me a note.

I picked up the note when I collected the body, madam.

Where did you collect the body?

The house of a Dr. Chester Lowe, 18 Willoughby Road. (raindrops splattering)

(clears throat)

Yes? Dr. Chester Lowe?

There's no Dr. Chester Lowe here.

This is 18 Willoughby Road.

There's no Dr. Lowe. I'm sorry.

Well, perhaps John Watson then.

I'm sorry. You have the wrong address.

I'm Julia's friend. I'm sorry.

I have a letter from John Watson. You have the wrong address!

JULIA'S VOICE: She's across the border in Alsace.

She lives with a baker's family.

(no audible dialogue)

(door chimes ringing)

It's impossible, madame. Alsace is not a village. It is a big province.

(children shouting)

Hi. Uh‒ Do you speak English? Yes.

I'm from America. Uh, do you know any Americans?

Americans? What is it you want, madam?

Well, I'm a friend of one that you might know. I'm looking for her baby.

I'm very busy, you see.

If you don't want bread, I can't help you.

Madam, I'm a friend of Julia's. (both speaking French)

Do you know about a baby named Lilly?

There's no baby here.

There's no baby. Just go and have a look.

There's no baby. I'm sorry.

(child shouting)

(ship horn blaring)

Do you need this anymore? Ah, no. That's all right.

Is this all you got?


(train idling) LILLIAN: Mr. Johann!

(shouting continues, indistinct)

Mr. Johann! Hello!

Mr. Johann! (screaming)

(gasping for breath) Lilly. Lilly.

It's all right. (gasping continues)

All right. Go back to sleep.

Please, ma'am, you'll have to wait outside. I will not wait outside.

What's the trouble, Anna?

Raines, do you remember me?

I used to come here with Julia on weekends.

Remember, when we were just little children?

You remember, her friend, Lillian.

I'm afraid I don't. Of course, you do.

Please, to step outside, madam. I will not please... to step anywhere until I talk to Julia's grandparents.

They're on a cruise, madam.

They will not be returning for weeks. I don't believe you.

I will take the information‒ Julia has been murdered!

It's not to be referred to as "information."

I have her ashes, and I want them to tell me what I'm supposed to do with them.

If you don't leave‒ She has a child!

Don't they care about their granddaughter's child?

If you don't leave, madam, I shall call the police.



(sniffles, sobs)

(sobbing continues)

They never wanted to find the baby.

(sobbing) I did.

You tried.

I didn't try hard enough.

You hired detectives. You had lawyers.

You did what you could. (Weeping) I don't know.

They never wanted to find the baby.

They wanted Julia's money, and they got it.

I know, the bastards. So now let it be.

There's something else now. There's a war going on over there.

(Whimpering sob) Maybe she's alive in it.

The baby's dead, Lilly.

(sobbing) I won't believe that. You don't know that.

Lillian! The baby is dead.

Julia was and isn't. That's all.


When you die, will you want me to feel that way about you?

I'll outlive ya.

Oh, maybe not. You're stubborn.

LILLIAN (narrating): Hammett didn't outlive me.

We lived together, off and on, for... 30 years.

And I've gone on for a good many years since.

Sometimes fine, not always.

But he was right. I am stubborn.

I haven't forgotten either of them.