Anthropoid script
Anthropoid (2016)
Synopsis: Anthropoid is a 2016 British-French-Czech historical thriller film directed by Sean Ellis, from a screenplay by Ellis and Anthony Frewin, starring Cillian Murphy, Jamie Dornan, Harry Lloyd, Toby Jones, Charlotte Le Bon and Bill Milner. It tells the story of Operation Anthropoid, the World War II assassination of Reinhard Heydrich by Exile Czechoslovak soldiers on 27 May 1942.

1

JAN:

What happened?

JOSEF:

Caught one of the branches on the

way down.

JAN:

Can you move?

2 EXT. FOREST TRACK - NIGHT 2

JAN’s arms are around JOSEF as he helps him along a snowy

track over-shadowed by trees. CAMERA follows them from

behind.

CLOSE UP:
Two pairs of feet hurrying through the snow. One

pair badly limping and leaving a deep red blood trail through

white snow.

CUT TO BLACK:

3 TITLE - WHITE ON BLACK: 3

ANTHROPOID:

4 INT. FOREST CAVE - NIGHT 4

A small fire. JAN eats some rations.

JOSEF removes his boot. His sock is sticky with dark blood.

He pulls down the sock to reveal a deep cut on his ankle.

JAN inspects the wound.

JAN:

You’ll need stitches.

JAN rips a rag from his pack and helps JOSEF dress the wound.

JAN then sees a small piece of wood on the cave floor. He

picks it up and inspects it. He takes his knife from his

belt, sits with his back to the cave wall and starts to

whittle the wood with his knife.

5 INT. FOREST CAVE - EARLY MORNING 5

The fire has smouldered into grey ash. The two men are

asleep.

There’s a noise. JAN opens his eyes and sees at the mouth of

the cave a figure. This is ANTONIN, a middle-aged stocky

farmer, brutish in manner, holding a shotgun with a dog at

his feet. JAN wakens JOSEF. There’s a momentary silence as

the three eye each other.

ANTHROPOID V20:
2

ANTONIN:

You didn’t hide your parachutes

very well and you left a blood

trail for half a kilometer.

Silence. Nobody moves.

ANTONIN:

Follow me. I live not far from

here.

JOSEF and JAN get to their feet groggily.

6 EXT. OPEN LAND - EARLY MORNING 6

A snow-covered landscape. In the middle distance is ANTONIN

who turns and urges them to keep up.

JOSEF and JAN exchange apprehensive glances.

A clearing in the woods. JAN scans and sees:

A small farmhouse with a barn. Pens for livestock, a truck

sits parked next to a stone well. Self sufficient.

ANTONIN:

Ignac!

(beat)

IGNAC!

A few moments later IGNAC appears in the doorway of the

farmhouse. A tousle-haired youth in his late teens with an

acned face. IGNAC has on an leather apron stained with blood.

He has a carving belt with a number of knives held in place.

ANTONIN:

Prepare some food.

IGNAC turns and runs back inside.

ANTONIN:

Hot soup. Come.

7 INT. FARMHOUSE - KITCHEN - DAY. 7

Some nasty soup is poured into bowls. IGNAC places the bowls

in front of JAN and JOSEF.

JAN shares a concerned look with JOSEF. The farmhouse looks

run down and in need of repair.

ANTONIN:

Please, eat.

JAN and JOSEF slowly lift the spoons to their mouths. The

scene awkward.

ANTHROPOID V20:
3

ANTONIN:

I take it you are heading for

Prague?

JOSEF:

Yes. How far away is it?

ANTONIN:

30 Kilometers. I have a special

delivery permit for my truck.

(beat)

I could take you.

JAN looks at JOSEF and then at ANTONIN.

JAN:

(appreciative)

Thank you.

ANTONIN:

Well that’s settled. You rest here

tonight and I will take you in the

morning.

ANTONIN exchanges a look with IGNAC and then stands up from

the table.

ANTONIN:

Enjoy your soup.

ANTONIN leaves the room, closing the door behind him. JAN and

JOSEF are left with IGNAC who looks like he never went to

school.

JOSEF looks at JAN. Something is wrong. The silence in the

room oppressive. A clock gently ticks somewhere.

JOSEF suddenly stands up and strides towards the kitchen door

and bursts through into the hall to find ANTONIN standing in

the hallway on the telephone.

JOSEF steps forward, takes a pistol from his pocket and aims

it at ANTONIN’s head.

ANTONIN like a rabbit caught in the headlights, slowly puts

the phone down and raises his hands in the air.

JOSEF:

How much do you get for turning in

parachutists to the Germans?

ANTONIN just stares at him. Guilt written on his face.

JOSEF grabs ANTONIN and pulls him back to the kitchen where

he finds JAN seated with his hands in the air and IGNAC

holding a knife to his throat.

IGNAC:

Drop the gun!

ANTHROPOID V20:
4

JOSEF keeps the gun aimed at ANTONIN’s head. IGNAC reaches

inside JAN’s jacket and takes his gun.

IGNAC:

I said drop the...

SUDDENLY ANTONIN grabs the gun and he and JOSEF wrestle for

control.

JAN grabs IGNAC’s arm and kicks back and the two fly

backwards and are stopped by the sink.

IGNAC drops the knife and the gun - JAN drops for the gun but

IGNAC kicks it and skittles across the dank floor. IGNAC

steps back and pulls another knife from his belt.

ANTONIN is stronger and manages to pull the gun away from

JOSEF. But in doing so, pulls the trigger, shooting himself

in the face.

Blood sprays across JOSEF’s stunned face.

Everyone is momentarily frozen in shock.

IGNAC looks at ANTONIN who is face down. He suddenly realises

he is now outnumbered. He turns and bolts out of a side door

in the kitchen.

JOSEF scuttles next to ANTONIN and retrieves his pistol from

ANTONIN’s dead hand. JOSEF spins and throws the pistol

through the air towards JAN.

JAN catches it and chases after IGNAC.

At the edge of the forest JAN stops running and aims the

pistol. An expression of concentration. His stance trained

like that of a soldier.

JAN’s POV:
a clear shot of IGNAC as he runs deeper into the

forest.

JAN’s concentration turns to hesitation. The hand that holds

the gun starts to shake. More than hesitation - a mental

block. JAN is hyperventilating. Pain across his face. Sweat

pours, JAN wipes his face and re-aims.

JAN’s POV:
IGNAC disappears into the thick cover of the

forest.

JAN drops to his knees fighting for breath. Full-on panic

attack. Fists clenched, muscles cramping.

JAN fights it. Tries to calm himself. Slowly gets up, turns

and makes his way back to the farmhouse.

ANTHROPOID V20:
5

8 INT/EXT. FARMHOUSE - DAY. 8

JOSEF pulls the phone line from the wall. Takes a cloth and

regards the dead weight of ANTONIN’s body on the kitchen

floor. A pool of black blood slowly creeping across the

floor. Josef wipes the blood from his face and exits.

JAN approaching. More in control.

JOSEF:

You get him?

JAN shakes his head no. JOSEF looks at JAN for a beat -

JOSEF’s thoughts unreadable. He breaks off to survey the

area.

JOSEF:

(nodding towards it)

We’ll take their truck.

9 INT. TRUCK - DAY 9

JAN drives. JOSEF looks out the window at the passing

landscape.

JAN steals a look at JOSEF. JOSEF notices.

JOSEF:

What?

(beat)

They had made their choice.

(beat)

Sometimes you have to pick a side.

(beat)

You would prefer it was us?

JAN looks back to the road. The question hangs in the air.

JOSEF tears some cloth from a spare shirt and puts his foot

on the dash. He changes the blood soaked rag for the new

cloth and ties it tight.

JAN:

(indicating Josef’s foot)

We have to get that looked at as

soon as possible.

JOSEF:

We have to make contact with the

address in Prague first.

(beat)

We’ll deal with this after.

JAN gives him a worried look and then looks back at the road.

A squealing sound is heard over the engine. JOSEF turns,

lifts the canvas and peers into the back of the truck.

Six or seven pigs are in the back of the truck.

ANTHROPOID V20:
6

JAN:

What is it?

JOSEF:

A truck full of pigs!

JOSEF sits back and for the first time the men share a smile

at the situation they find themselves in.

10 EXT. COUNTRY LANE - DAY 10

The truck speeds past a sign post that indicates Prague is 28

Kilometers away.

11 OMITTED 11

12 OMITTED 12

13 OMITTED 13

14 EXT. PRAGUE STREETS - DAY 14

Various shots as the truck makes its way through the streets

of Prague.

15 INT. TRUCK - DAY 15

JOSEF checks his map and then the road ahead.

JOSEF:

Should be the next left.

Through the windows we see the heavy presence of the German

army. Military trucks and soldiers very much in evidence at

every street corner.

JAN turns the wheel and makes a left turn.

JOSEF:

Pull over here.

The truck comes to a stop as JOSEF looks up at an apartment

block.

JOSEF:

This is it.

JAN and JOSEF exit the truck.

16 EXT. PRAGUE STREET - DAY 16

They both check the street with nervous glances.

ANTHROPOID V20:
7

17 INT. APARTMENT BLOCK STEPS - DAY 17

JAN and JOSEF climbs the steps until they see a blue door

with the number 44 on it.

They have a quick look around and then nod to one another.

JAN knocks on the door and they wait. Footsteps are heard and

then the door opens.

A plain looking WOMAN in her late thirties appears and looks

at JAN and JOSEF.

WOMAN:

Yes?

JAN:

We are looking for Oldrich Novák.

The woman looks at them. Uncertainty in her eyes.

WOMAN:

The Novákovi no longer live here.

A silent beat.

JAN:

You have their new address?

The WOMAN looks down and sees that JOSEF’s foot is bleeding

and leaving a small pool of blood around his heal.

WOMAN:

I heard they were taken by the

Gestapo a month before we moved

into the apartment.

From inside the apartment a MAN’s voice calls out.

MAN (O.S.)

Who is it?

WOMAN:

(turning inside briefly)

Don’t worry, father. Just someone

looking for directions.

(back to Jan and Josef)

I’m sorry, that is all I know.

JAN:

(stopping the door from

closing)

Please, can you help us?

WOMAN:

My father is not well, you must

leave.

JAN steps back from the door and JOSEF stares at the WOMAN.

ANTHROPOID V20:
8

The WOMAN locks eyes with JOSEF. A brief second passes.

WOMAN:

There is a veterinarian in the next

row of shops up the street.

(beat)

I hear he is a good man.

(beat)

One that may help.

JOSEF nods his thanks and they leave.

18 INT. VETERINARIAN’S SURGERY - DAY 18

A small French bulldog is being held by an ELDERLY WOMAN

while DR EDUARD, mid-50s bookish but kind, is trying to

examine the dog.

The dog is barking and trying to bite DR EDUARD.

ELDERLY WOMAN:

He normally only barks at Germans!

DR EDUARD:

Germans and anyone giving him a

rectal examination.

DR EDUARD removes his gloved hand from the dog’s rear and

takes off the glove.

DR EDUARD:

He should be fine now but don’t let

him eat the rubbish around the bins

again.

From next door we hear the bell above the front door sound.

DR EDUARD looks up with slight concern - he is not expecting

any other clients today. He reassures the ELDERLY LADY with a

warm smile.

19 INT. VETERINARIAN’S RECEPTION - DAY 19

Frosted glass panels sit on top on wood panels and separate

the reception from the surgery with a door in the centre.

ELDERLY WOMAN:

(leading the dog out of

the surgery)

Thank you, Dr Eduard. Come along

Benés!

In the shop the ELDERLY WOMAN stops to see JAN and JOSEF in

the waiting area - neither have any pets.

The ELDERLY WOMAN looks back at DR EDUARD with a slightly

worried expression.

DR EDUARD:

Look after him, Mrs Spinka.

ANTHROPOID V20:
9

MRS SPINKA leaves and DR EDUARD turns to JAN and JOSEF. A

brief pause before we cut to:

20 INT. VETERINARIAN’S SURGERY - DAY 20

A close up of JOSEF’s foot. A spot lamp lights a large cut

that is being stitched together by DR EDUARD. Dark sticky

blood surrounds the deep cut and five stitches hold most of

the wound together.

DR EDUARD looks over his glasses at JAN who is peeking out

through the curtains.

JAN’s POV:
Three German soldiers are roughly herding a Jewish

family along the streets. Prodding them, shouting at them.

JAN walks back from the window and looks to JOSEF and then to

DR EDUARD.

DR EDUARD:

Normally, for a dog bite, you would

go to a hospital not a vet.

JAN:

Did you know Oldrich Novák?

DR EDUARD looks up to JAN and notices JAN’s right hand is

stuffed into coat pocket and is obviously holding a pistol.

DR EDUARD looks back and continues to stitch JOSEF’s wound.

DR EDUARD:

Yes. He and his family were taken

by the Gestapo.

JAN:

You know why?

DR EDUARD:

They were suspected of anti-Nazi

activities.

JAN:

And what if we were to say Oldrich

Novák was our contact here in

Prague?

A beat.

DR EDUARD:

Then I would have to wonder if you

were ill informed Czech patriots or

Gestapo spies trying to infiltrate

what remains of the resistance?

Silence. DR EDUARD looks at JAN’s bag on the floor. Inside we

can partly make out what looks like a decoder paper.

ANTHROPOID V20:
10

DR EDUARD:

You sound Czech, I detect no German

accent. Neither of you seem to have

been beaten into coercion. You seem

more concerned by the threat

outside this room. The decoding

paper in your bag doesn’t have a

German font and given that this

wound has more tree bark in it than

dog bite, I would have to guess you

have been parachuted back into

Czechoslovakia with intelligence

that is somewhat out of date.

JOSEF winces as the last stitch is finished.

JAN:

You’re a clever man.

(beat)

We were also told you were a good

man...

DR EDUARD stands and wipes his hands.

DR EDUARD:

(holds out his hand)

You have papers?

JAN takes a wallet and removes his papers. JAN hands them

over to DR EDUARD.

An official looking document with JAN’s photograph attached.

DR EDUARD:

(inspecting the papers)

Where were these made?

JAN:

London, why what’s wrong?

DR EDUARD:

(impressed face)

Nothing. They’re good.

He hands them back as a volley of shots is heard outside.

JAN starts to go to the window.

DR EDUARD stops him.

DR EDUARD:

Don’t. You could draw attention.

(beat)

There is nothing we can do. You

will get used to it.

(beat)

I’m not sure how long you have been

away or what London has told you

about what is going on here.

ANTHROPOID V20:
11

JOSEF:

I think our current situation

answers that, no?

DR EDUARD:

Quite.

JAN:

We left for the defence of France

and were evacuated to England when

France fell to the Germans.

(beat)

It’s been a while.

DR EDUARD:

Since Reinhard Heydrich was

appointed Reich Protektor of the

Czech lands, fear and suspicion

rule. Rewards are given to people

who inform on anti-Nazi activity.

Handsome rewards.

(beat)

Heydrich has all but nearly crushed

the resistance and has executed

thousands of Czech nationals.

(beat)

Everyone is scared.

DR EDUARD puts the final bandages on JOSEF’s foot.

JOSEF:

And you?

DR EDUARD:

I’m just a vet. You didn’t give me

much choice.

(beat)

I can put you in contact with the

Miller. Maybe he can help you.

(beat)

If you can convince him.

(beat)

You can stay here tonight and I’ll

contact the Miller in the morning.

JOSEF:

My friend here said you were a

clever man. I agree.

(indicates his hand in his

pocket)

Don’t do anything that would change

our opinion.

DR EDUARD nods to the men and then indicates JOSEF’s leg.

DR EDUARD:

Go easy on the foot and you should

be dancing the tango within the

week.

ANTHROPOID V20:
12

21 EXT. PRAGUE, PANORAMIC SHOT - DAWN 21

Over the rooftops. All is now quiet. The city starts to stir.

22 INT. VETERINARIAN’S SURGERY - MORNING 22

JAN and JOSEF are ready and waiting. They look like they

haven’t slept. JOSEF is checking the street from the window

and JAN is whittling his piece of wood when the sound of keys

are heard unlocking the front door.

JAN opens the surgery door a crack and sees DR EDUARD enter

with another man. He is BRETISLAV BAUMAN, a tall slim man in

his early fifties, educated but with a brusque manner. He is

a local miller but carries himself with the confidence of

something more. His hand deep in his coat pocket proves it.

DR EDUARD stops when he sees JAN and JOSEF in defensive

positions by the surgery door.

DR EDUARD:

This is Bretislav the miller.

BRETISLAV looks at JAN and JOSEF. A pause as they size each

other up.

BRETISLAV:

Eduard told me you were looking for

Oldrich Novák?

JOSEF looks at BRETISLAV and nods.

BRETISLAV:

Would you like to take a drive with

me?

Awkward pause. Nervous looks.

23 INT. TRUCK - MORNING 23

BRETISLAV drives with JAN and JOSEF on the bench seat next to

him.

A three-storey concrete building put up in the 1920s looms

through the windshield. Cold and functional. The truck

approaches and stops outside the entrance.

JOSEF:

Where are all the students?

BRETISLAV:

Closed.

(beat)

Germans don’t like colleges. They

encourage people to think.

(beat)

Most of the academics and

intellectuals have been shot.

ANTHROPOID V20:
13

BRETISLAV gets out the truck and starts walking across the

courtyard and towards the school building.

JAN:

What do you think?

JOSEF:

I think, stay on your toes.

24 EXT. SCHOOL BUILDING - DAY 24

JAN and JOSEF get out the truck and cross a courtyard and

join BRETISLAV as they all enter through the main large

doors.

25 INT. SCHOOL BUILDING, CORRIDOR - DAY 25

JAN, JOSEF and BRETISLAV walk down a long corridor, their

footsteps echo.

JOSEF looks around: empty class rooms. Some with chairs over

turned. Paint peeling from the walls. Rust marks. Decay. It

doesn’t look good.

JOSEF limps along and snatches a look at JAN. Both have a

hand in their pocket.

The corridor is long. Their footsteps echo out. Tensions at

breaking point.

BRETISLAV looks back over his shoulder at JOSEF. JOSEF meets

his gaze. BRETISLAV turns back and reaches a doorway, goes

through it. JAN and JOSEF follow.

26 INT. SCHOOL BUILDING, CLASSROOM - DAY 26

Sitting behind a desk is a man. Standing next to him is

another man.

JAN and JOSEF enter but don’t see the two men either side of

the door they came through.

“CLICK”. Pistols are trained on the back of JAN’s and JOSEF’s

head.

BRETISLAV spins, pistol trained on JAN and JOSEF.

BRETISLAV:

Don’t move!

JAN and JOSEF look around to assess the situation. Two armed

men behind. BRETISLAV in front. Two men at the desk in front.

BRETISLAV takes the pistols from JAN and JOSEF’s pockets.

JOSEF looks very angry at himself for walking right into a

trap.

ANTHROPOID V20:
14

BRETISLAV places the pistols on the desk in front of the

seated man. He is JAN ZELENKA, a teacher, code-named ‘UNCLE

HAJSKY’, an intellectual looking man in his early fifties.

Standing next to him is a tall slim man in his mid-forties

with a determined manner. He is LADISLAV VANEK.

The men from behind place two chairs in front of the desk and

recede to cover at the back of the room.

LADISLAV:

(hand outstretched)

Please sit.

The room is silent.

LADISLAV:

You were looking for Oldrich Novák?

JOSEF nods.

LADISLAV:

Why?

JOSEF looks at them for what seems a long time. Weighing the

situation, the words he must use.

JOSEF:

He was our contact here in Prague.

It hangs in the air.

LADISLAV:

Who gave you this contact?

JOSEF:

London.

BRETISLAV and LADISLAV exchange looks.

LADISLAV:

And you tell us this because?

JAN:

You are not leaving us much choice

and this doesn’t look like Gestapo

headquarters.

LADISLAV turns to look at JAN.

LADISLAV:

You, where are you from?

(beat)

Your accent, Bohemia?

JAN:

No, from Dolni Vilemovice, Moravia.

LADISLAV:

Then you must know the railway

station at Vladislav?

ANTHROPOID V20:
15

JAN:

Yes.

LADISLAV:

What’s so special about it?

JAN thinks for a moment.

JAN:

I presume you are talking about the

large bed of coloured roses that

when seen from above is in the

shape of our national flag?

The men regard each other for a pregnant beat.

JAN:

Is it still there?

LADISLAV:

Seems the Germans have still not

looked at it from above...

LADISLAV smiles. He pulls up a chair. Sits.

LADISLAV:

I am Vanek. Ladislav Vanek.

(beat)

I’m the head of the Jindra

organization.

(beat)

Czech resistance.

(beat)

This is Jan Zelenka, code name

Uncle Hajsky.

JAN:

I am Jan Kubis.

JOSEF:

I am Josef Gabcik. From Slovakia.

UNCLE HAJSKY:

You mustn’t be surprised by our

lack of trust. The Gestapo have

been very successful in

infiltrating our network.

(beat)

The contact that London gave you,

Oldrich Novák. He was taken away

some months ago.

JOSEF:

Well, that could have got us

killed, why wasn’t London informed?

LADISLAV:

We lost contact with the Czech

government-in-exile in London some

months ago. We need replacement

crystals for the transmitter.

ANTHROPOID V20:
16

(MORE)

We’ve been waiting for them to send

someone to reestablish contact.

(beat)

Is that you?

JOSEF:

There were other men on our plane.

They were dropped elsewhere, it’s

possible they have orders to

reestablish contact with London but

I’m afraid that is not our mission.

UNCLE HAJSKY:

What is your mission?

A long beat as JOSEF regards JAN.

JOSEF:

We are here as Operation

Anthropoid.

UNCLE HAJSKY:

Derived from the Greek, Anthropos,

It means, resembling a human being

in form.

JOSEF:

We don’t know what it means other

than the instructions given within

the code name.

There is a long silence in the room.

LADISLAV:

I take it you want our help for

this mission?

(beat)

Whatever it is?

JAN:

Yes. We will need your help.

Another silence.

LADISLAV:

We can help of course. But we need

to know what you need help with.

(beat)

What is Anthropoid?

JAN and JOSEF seem to be struggling with the information they

possess.

LADISLAV tilts his head curiously at their struggle.

UNCLE HAJSKY looks at LADISLAV and then back at JAN and

JOSEF. It’s dawning on them just how big this mission could

be.

ANTHROPOID V20:
17

LADISLAV (CONT'D)

JOSEF:

We are here to assassinate SS

Obergruppenführer Reinhard

Heydrich.

UNCLE HAJSKY and LADISLAV are frozen for a second. Blank

faces just staring back.

JOSEF:

The Reichsprotektor of Bohemia and -

UNCLE HAJSKY:

(interrupting)

Yes, we know who he is...

LADISLAV:

(overlapping)

Are you completely mad?

JOSEF:

We have our orders, comrades.

LADISLAV:

But this is madness!

Heydrich! For Christ sakes,

man!

UNCLE HAJSKY:

(trying to interrupt)

Ladislav...

LADISLAV:

Why stop with Heydrich? Why not

have a go at Hitler as well? He’s

only 300 kilometers down the road

in a small village called Berlin.

JOSEF:

So we report to London that you are

refusing to cooperate with our

mission?

LADISLAV loses it and kicks back his chair as he leaps to a

confrontational stance in front of JOSEF. JOSEF springs up

and stands his ground.

LADISLAV:

How dare you question us!

(beat)

You know what we have sacrificed

for the cause here?

The men behind re-train their weapons at JOSEF.

Silence as the men regard each other in the stand off.

UNCLE HAJSKY:

(calmly)

Ladislav, please. Sit down...

LADISLAV breaks the stare and returns to his seat as does

JOSEF.

LADISLAV:

You kill Heydrich and Hitler will

tear Prague apart.

ANTHROPOID V20:
18

(MORE)

I’m talking about the sort of

reprisals we don’t want to imagine,

can’t imagine.

(beat)

They will find a weak link, exploit

it. Until someone gives them a

name. Anyone that so much as sold a

newspaper to that name will be

shot.

(beat)

I take it you have family in

Czechoslovakia? Mother? Father?

(beat)

You kill Heydrich then you can

consider them and everyone that

ever knew you dead...

JOSEF:

All Czech patriots should be ready

to die for their country. That

includes my family.

LADISLAV:

(overlap)

Well, I’m not! I want to carry on

fighting. We don’t have that many

left that are willing to do that.

We are what’s left of the Czech

resistance. We die, it dies.

(beat)

I suggest a lesser rank should be

assassinated. Perhaps a few of

them.

(beat)

We could look at Karl Frank or any

of the puppets in the government

here that collaborate with the

Nazis.

JAN:

Heydrich is the head of the secret

police. Only Hitler and Himmler are

above him in the Nazi hierarchy.

LADISLAV:

Exactly my point, you really think

you’ll ever get close enough to

assassinate Heydrich?

Silence. Doubt.

JOSEF:

Our orders have come direct from

the Czech Government in London.

LADISLAV:

So this is about the Czech

government in London trying to

impress the allies?

(beat)

What about when we had an army?

Were willing to fight?

ANTHROPOID V20:
19

LADISLAV (CONT'D)

(MORE)

Able to fight?

(beat)

It was the allies that gave us to

the Germans in the first place...

(beat)

Am I the only one that remembers

the Munich agreement?

UNCLE HAJSKY:

Munich was a betrayal, but it’s

also now history. The question the

Czech Government in exile seems to

be asking is this, are we still

able to fight? Is Czechoslovakia

still ready and able to resist Nazi

Germany?

JOSEF:

The assassination of Reinhard

Heydrich couldn’t send a clearer

message to the world.

LADISLAV:

Yes, but at what cost?

There is a heavy silence in the room.

UNCLE HAJSKY:

You have your orders.

(beat)

I’m sure Ladislav’s feelings will

not colour his support.

(beat)

What do you need from us in the

meantime?

JOSEF:

Everything you know on Heydrich.

UNCLE HAJSKY:

I presume you want this down to the

fine details of movements, planned

engagements, and so on?

JOSEF and JAN nod.

UNCLE HAJSKY:

It will take us a couple of weeks

to figure out who we have on the

inside that can get close to that

kind of information.

JOSEF:

There is one other thing.

(beat)

We lost our equipment in the drop.

LADISLAV:

What do you need?

ANTHROPOID V20:
20

LADISLAV (CONT'D)

JOSEF:

Two anti-tank grenades, model 73,

32 pounds of plastic explosives,

two magazines of fuses, three

timing pencils and one Sten Mark II

machine gun with 100 rounds.

LADISLAV:

And where am I supposed to find all

that?

JOSEF:

Hanging thirty meters up from a

pine tree, we can show you

approximately where on a map.

UNCLE HAJSKY:

In the meantime I will take you to

one of the safe houses we have in

Prague.

JAN and JOSEF understand with a grateful nod.

27 OMITTED 27

28 INT. MORAVEC EXTERIOR STAIRWELL - DAY 28

UNCLE HAJSKY leads JOSEF and JAN up the steps of nondescript

five-storey 1920s building. On the top floor UNCLE HAJSKY

knocks on a door. MRS MORAVEC answers it. She is a strong

looking woman in her late forties, dark hair with dark

intense eyes that hint at her dependable resolve and her

resistance to the German invasion of her motherland.

Seeing UNCLE HAJSKY she ushers them inside with some urgency.

29 INT. MORAVEC FLAT, HALLWAY - DAY 29

A flat simply furnished in the Czech style. A violin is heard

practicing scales somewhere in the flat.

MRS MORAVEC:

Good to see you, Uncle. You look in

good health.

UNCLE HAJSKY:

And so do you, Mrs Moravec.

MRS MORAVEC:

And who are these two exactly?

UNCLE HAJSKY:

Josef here, and this is Jan.

JOSEF and JAN each shake MRS MORAVEC’s hand.

ANTHROPOID V20:
21

MRS MORAVEC:

You are both most welcome here and

please call me Auntie Moravec.

(beat)

Come on through, please.

30 INT. MORAVEC FLAT, MAIN ROOM - MORNING 30

A simple and modestly furnished room with large windows. A

dining table and chairs, several armchairs, a sofa, a cabinet

with books. The kitchen leads off.

MRS MORAVEC leads the three into the room.

UNCLE HAJSKY:

(to Josef and Jan)

This will be your base for the time

being. Mrs Moravec will look after

you royally, I am sure.

MRS MORAVEC:

My husband works on the railways

and knows nothing of what we are

doing. I’ll tell him that you are

lodgers from the country seeking

work.

(calls over her shoulder)

Ata! Ata!

(beat)

Ata is my son. He is studying to be

a violinist.

UNCLE HAJSKY:

(to Josef and Jan)

If you ever need to contact me, use

Ata.

ATA appears. A lean, friendly twenty-one-year-old.

MRS MORAVEC:

Ata. This is Josef, and this is

Jan.

ATA:

I am pleased to meet you both.

The three shake hands.

UNCLE HAJSKY:

(to Josef and Jan)

A couple of things...

(beat)

Try not to go outside.

(beat)

If you must, never walk together.

(beat)

If you are stopped, you’ll need an

excuse for not being at work.

(beat)

ANTHROPOID V20:
22

(MORE)

I will speak to our vet, the good

Dr Eduard and see if he can get you

medical certificates stating you

are exempt from work.

(beat)

We use the code of three knocks

followed by one knock.

(beat)

An open window with the curtain

drawn is the danger signal. Stay

away at all costs.

(beat)

Lay low until I can send word

through Ata.

The men nod.

UNCLE HAJSKY bows to MRS MORAVEC and leaves.

The men make a courtesy smile to MRS MORAVEC and then go

about their business. They are checking every part of the

flat:
the windows, the locks, and so on.

MRS MORAVEC looks on slightly anguished as she watches them

systematically check everything.

JOSEF:

(pointing at the front

door)

That’s the only way in and out?

MRS MORAVEC nods, hands held across her front.

JOSEF:

And the room we sleep in?

MRS MORAVEC shows JAN and JOSEF to a little box room off the

corridor. A simple room. Two mattress beds on the floor. A

table and chair. A dresser and in an alcove, a sink with a

mirror above.

JAN:

JOSEF!

JOSEF looks at JAN who has seen a skylight in the ceiling.

JOSEF:

(to Mrs Moravec)

There’s a way off the roof?

MRS MORAVEC:

(thinks)

There is a fire escape to the left.

To the right it continues to the

building next door.

JAN:

That’s good enough.

JOSEF takes a chair and brings it to the door and wedges it

under the handle.

ANTHROPOID V20:
23

UNCLE HAJSKY (CONT'D)

JAN takes a tray of china from the table and lifts the table

placing it under the skylight. He jumps on the table and

easily opens the skylight and looks out. He then pokes his

head back in and gives a nod.

JOSEF:

OK. The chair stays by the door and

the side table must always be clear

of any china.

MRS MORAVEC nods.

MRS MORAVEC:

(slightly nervous)

I am sure you both would like a

glass of Becherovka.

JAN:

Becherovka? Thank you.

The front door is heard opening and JAN and JOSEF instantly

pull out their pistols.

A female voice from the hallway.

FEMALE VOICE:

Mrs Moravec?

MRS MORAVEC:

It’s OK. It’s Marie.

MRS MORAVEC takes the chair from under the door handle.

JAN and JOSEF hide their pistols.

MRS MORAVEC opens the door and they exit to meet MARIE

Kovárniková in the hallway. MARIE is an attractive girl in

her late teens bearing two heavy shopping bags. She freezes

in slight shock at the two strangers behind MRS MORAVEC.

MRS MORAVEC:

It’s OK, Marie. This is Jan and

Josef, my cousins from the country.

They will be staying with us while

they are looking for work.

JOSEF:

(formal)

Pleased to meet you, Marie.

JOSEF extends his hand.

Somewhat shyly MARIE puts down the shopping bag and leans

over to shake JOSEF’s hand.

JAN smiles as he shakes her hand.

JAN:

Hello.

ANTHROPOID V20:
24

There is a play between their eyes and its obvious that there

is an attraction on JAN’s part.

JOSEF notices.

MRS MORAVEC:

Marie, Josef and Jan are not

registered with the police as being

residents here, so remember, please

keep it strictly to yourself.

MARIE:

(nods)

I’ll put the shopping in the

kitchen then.

MRS MORAVEC smiles warmly at MARIE as she takes the shopping

bags into the kitchen to unpack.

JOSEF looks at MARIE leaving and then at MRS MORAVEC. He

looks concerned.

MRS MORAVEC:

Don’t worry, she is a trustworthy

girl. Mrs Kovárniková’s daughter. I

pay her for helping out.

(beat)

I have to, I get no help from Ata,

always on the violin. And as for Mr

Moravec, he thinks he’s helping out

if he closes a door.

(beat)

Dinner will be at 6pm.

31 INT. MORAVEC FLAT, MAIN ROOM - NIGHT 31

JAN and JOSEF help lay plates onto the dinner table.

MARIE helps MRS MORAVEC in the kitchen.

MRS MORAVEC’s husband MR (Alois) MORAVEC is a large

overweight man in his late forties with bushy eyebrows and a

bluff manner. He sits in a chair off to the side reading his

newspaper.

ATA can be heard in the background playing the violin.

Christmas decorations lightly decorate the apartment.

The hot dishes are brought into the dining room.

A modest feast is ready.

MRS MORAVEC:

(calling out into the

hall)

Ata! Dinner is ready!

MR MORAVEC gets out the chair and makes his way to the head

of the table.

ANTHROPOID V20:
25

MARIE:

Well, I’ll be off now Mrs Moravec

MRS MORAVEC:

Don’t be silly, Marie. Please stay

and eat with us. We have enough.

JAN steals a glance at MARIE who looks away.

MRS MORAVEC:

Marie, I insist!

MARIE:

OK, then. Thank you.

MARIE takes a seat opposite JAN. ATA enters the dining room

and sits down.

MR MORAVEC:

(sighing)

And finally the fiddler is silent!

MRS MORAVEC:

(to Mr Moravec)

He’s a violinist, Alois. A

violinist!

MR MORAVEC:

Well, whatever it is, and it

wouldn’t be so bad if he played

something everyone knew.

MRS MORAVEC:

(proudly to Jan and Josef)

Ata is at the Conservatory for

gifted musicians.

MR MORAVEC:

Wasn’t interested in the railways,

was he? Could be earning good money

now as a clerk. I saw a future for

him as a station master.

(beat)

Still, I suppose, the lad has to

follow his own path.

ATA has his face over his plate and is too busy eating to

hear this old rant again.

MR MORAVEC:

(to Jan and Josef)

You two boys looking for work then?

JAN:

(swallowing his food)

Mmmm. Yes.

MR MORAVEC:

We’re always looking for boys in

the railway shed, to clean the

cinders out of the locomotives!

ANTHROPOID V20:
26

MRS MORAVEC:

That is the dirtiest job in Prague!

JAN steals a look at MARIE and MARIE looks away shyly.

JOSEF:

Thank you for the offer, Mr

Moravec. We’ll keep that in mind.

32 INT. MORAVEC FLAT, KITCHEN - NIGHT 32

MARIE is at the sink cleaning the dishes.

JAN brings in the last of the dishes from the table.

JAN leans against the fridge and takes a cigarette packet

from his pocket and offers one to MARIE.

She shakes her head no.

JAN lights up and takes a drag.

JAN:

So, what do you do when you aren’t

helping out here?

MARIE shrugs.

There is a pause between them. Electricity fills the silence.

JAN:

You don’t have a boyfriend?

Marie shrugs her shoulders shyly and is noncommittal. No one

special.

There is tension and MARIE then breaks into a nervous giggle.

JAN laughs a little too and the tension is relaxed.

JOSEF enters with his plate. He looks at the two of them

briefly before studying MARIE intensely.

JOSEF:

You like life in occupied Prague,

Marie?

MARIE:

I take it not being registered with

the police as residents has

something to do with this question?

JOSEF:

It might.

A beat.

MARIE:

I hate the Germans.

ANTHROPOID V20:
27

A beat.

JOSEF:

You have a friend as good looking

as you?

MARIE, looks to JAN and then back to JOSEF.

MARIE:

Why?

JOSEF:

Seems Prague has changed since we

were last here.

(beat)

Would be less conspicuous if we

walked around with girls on our

arms.

(beat)

Young love flourishes under German

occupation, that sort of thing.

MARIE:

But you’re not that young.

JOSEF:

(turns to Jan)

Feisty and humourous, I like her.

(back to Marie)

Of course you can say no.

(serious)

Mrs Moravec saying you are

trustworthy is one thing. But doing

this could get you shot.

(beat)

You should think about that before -

MARIE:

(cutting in)

My friend, Lenka.

(beat)

She sometimes couriers messages for

Uncle Hajsky.

JOSEF:

Good, so she knows how to keep her

mouth shut as well?

MARIE nods.

MARIE:

We are going to a New Years Eve

dance on Wednesday night.

(beat)

You would like to go?

JOSEF looks at JAN.

JAN shrugs.

JOSEF turns back to MARIE and nods.

ANTHROPOID V20:
28

33 INT. PRAGUE DANCE HALL - NIGHT 33

A smoky dance hall, softly illuminated in soft brown hues.

Tables and chairs around the edge of the floor. Some six or

so couples are dancing to a swing band.

JAN and JOSEF stand at the bar.

The atmosphere in the dance hall has an edge. It’s not

relaxed and feels slightly surreal. Almost lost in time.

Nervous looks. A banner hung across the hall proclaims

“HAPPY NEW YEAR - 1942!”

A few off-duty SS officers to one corner. Top buttons undone,

red cheeks. But people avoiding them. A few whores flirt with

them.

Upper class tuxedoes mixing with working class brown jackets.

Business men mixing with artists and Black marketeer’s mixing

with Czech police.

A group of friends drinking. One is quite drunk and starts to

push a mate around. A few others step in and calm the

situation down. Drinks and cigarettes are handed out. Nervous

looks in the direction of the SS officers.

This is occupied Prague. The Dance hall has an a 1920’s

prohibition feeling to it and tonight being New Years eve, a

temporary neutral ground for all attending, but only just

JOSEF:

(to the crowd)

Look at them...

(beat)

Going through the motions like some

old ritual that no longer has any

joy for them.

JAN:

Maybe there is hope in the

pretence...

JOSEF lights a cigarette, he is a few beers in. Turns to JAN.

JAN signals OFF SCREEN.

MARIE and LENKA emerge through the crowd arm in arm. Both

beautiful. Both receiving looks from various wannabe suitors.

LENKA FAFEKOVA, like MARIE is elegant with striking red hair,

she is slightly older but beautiful.

JAN:

Looks like you fell on your feet

with Lenka.

JOSEF:

Stupid...

JAN looks confused.

ANTHROPOID V20:
29

The girls approach them.

MARIE:

Hello. Lenka, this is Jan and

Josef.

JOSEF turns his back on them. MARIE visibly disappointed.

JAN smiles nervously at MARIE. Awkward pause.

MARIE:

You know it’s not very polite to

turn your back on a lady.

JOSEF turns and talks but doesn’t look at them. He looks past

them.

JOSEF:

I’ll pay you the compliment of

being the two most beautiful girls

in the room but this is not a night

off for us.

JAN:

Josef, maybe you are over-reacting

a little.

JOSEF gives JAN a look which silences him.

JOSEF:

(looking past Lenka and

Marie)

Me and Jan appreciate the effort

but the point was not to attract

attention.

JAN looks over the room.

A few people avert his gaze. Maybe JOSEF has a point.

JOSEF:

In future we need you to be as

plain as possible.

(beat)

Think you can do that?

MARIE nods, feeling small and rebuffed.

LENKA:

You know, for most girls, a little

lipstick is the only way to forget

what is happening here.

(beat)

Even if it’s only for a few hours.

JOSEF looks at the table with SS officers. One of them

looking over. Observing while inhaling a cigarette.

JOSEF now looks at Lenka for the first time.

ANTHROPOID V20:
30

JOSEF:

Your lipstick gets you noticed and

that gets us noticed and us being

noticed could get us all shot.

(beat)

And now this little scene needs an

ending.

LENKA frowns, not understanding.

JOSEF leans forward and whispers in her ear.

JOSEF:

Slap my face so we can leave

without suspicion.

LENKA pauses for a second and understands the scene that

needs to be played. She then hauls a slap across JOSEF’s

right cheek. Her face plays the perfect part of a woman

scorned.

LENKA:

I’m not a whore!

JOSEF rubs his cheek and sees: the SS officer turns and

laughs with the others. The acted story, now clear, has

averted any suspicion.

JOSEF:

(whispered to Lenka)

Save your lipstick and pencilled

stockings for when the war is over.

JOSEF pushes past and leaves.

JAN grabs his coat.

JAN:

(to the girls)

I think that went well.

Awkward beat and JAN follows JOSEF to the exit.

34 INT. MORAVEC FLAT, BOX ROOM - NIGHT 34

A machine gun is placed on the table.

LADISLAV (O.S.)

A British Sten Mark II machine gun.

JAN and JOSEF inspect the weapon and clips as LADISLAV places

two anti-tank grenades on the table.

LADISLAV:

One hundred rounds.

(beat)

Model 73 anti-tank grenades with

pencil fuses.

(beat)

ANTHROPOID V20:
31

(MORE)

That’s everything we could retrieve

from the drop canister.

JOSEF takes the Mark II Sten and sniffs the barrel.

JOSEF:

That smell reminds me of the

training fields in Scotland!

He throws the gun to JAN who catches it and takes a whiff.

JAN:

Gun oil and turpentine - sometimes

I think we drank it by the pint.

LADISLAV:

Uncle says he has made some

progress with the information you

asked for.

(beat)

There is a meeting at Café Slavia

on Vodikova Street at 2pm, Tuesday.

LADISLAV:

You are still determined to go

through with this?

JOSEF looks down at the gun and then at LADISLAV. The silence

confirming their stance.

LADISLAV turns to leave.

JOSEF:

(to Ladislav and

indicating the weapon)

Ladislav, thanks.

LADISLAV nods and leaves.

35 EXT. PRAGUE STREETS - DAY 35

A late afternoon mist hangs in the air. The blackened spires

of the churches and other buildings peek out from the mists

like a dark fairy tale.

People go about their business. People sit outside a café. A

few nervously look around. No one can be trusted. Suspicion

rules the city.

JOSEF is walking besides LENKA. Now she looks like a plain

blonde in her late twenties.

There is an awkward silence between the two. JOSEF looks back

over the street behind and sees:

MARIE and JAN walking together on the side walk.

LENKA:

I just wanted to apologise about

Saturday night.

ANTHROPOID V20:
32

LADISLAV (CONT'D)

(MORE)

You were completely right to do

what you did.

(beat)

Marie didn’t fully inform me of the

situation.

(beat)

She is young and still has romantic

ideas about the war.

JOSEF:

And you?

LENKA:

War is not romantic.

JOSEF regards her for a second. She seems wise beyond her

years - another by-product of war. JOSEF then looks across

the street.

A man on the other side of the street in an overcoat and hat

stands looking at them.

JOSEF looks over his shoulder.

Another man seems to be following them.

JOSEF looks back at the first man who is now greeted by a

woman and they start to walk off. Is he being unduly

suspicious?

LENKA:

We cross here.

We are now walking with JAN and MARIE and we see JOSEF and

LENKA cross the street a little up ahead.

JAN:

After our last date I thought you

might both show wearing potato

sacks...

MARIE gives a shy smile.

MARIE:

Lenka was very angry that I didn’t

tell her who you both were.

(beat)

I don’t know what I’m doing.

JAN:

You are doing fine.

(beat)

Its not your fault.

(beat)

It’s hard to see all the sides.

(beat)

Josef just has a knack for it.

MARIE:

He must think me silly.

ANTHROPOID V20:
33

LENKA (CONT'D)

JAN:

I don’t.

MARIE smiles. Her eyes lock with JAN’s. A sweet moment.

Ahead, JOSEF and LENKA have now crossed the street and are

on the same side. They both enter a café.

A man leans on the corner outside the café. Tooth pick in

mouth, foot raised on the wall, relaxed but looking around.

JAN notices him. He must be a lookout for the Jindra

Organization.

JAN and MARIE pass him and into the café.

36 INT. CAFÉ SLAVIA - AFTERNOON 36

A small neighbourhood café. Just a few locals. They look up

at JAN and JOSEF for a second before going back to their

business.

The PROPRIETOR behind the counter glances up at JOSEF and JAN

and indicates to them to go through a door at the back.

JOSEF and JAN turn to LENKA and MARIE.

JOSEF:

Take a seat here and order a drink.

We won’t be long.

MARIE and LENKA nod and sit down at a table.

JOSEF and JAN walk through a doorway and into the back room.

37 INT. SAFE ROOM, CAFÉ SLAVIA - AFTERNOON 37

A grey modestly furnished flat at the back of the café. Both

JAN and JOSEF look round the room and see two other doors

other than the one they entered.

We recognize UNCLE HAJSKY and LADISLAV, head of the Jindra

group from the first meeting.

JAN and JOSEF turn and see three other men: Adolf OPALKA,

Josef VALCIK and Karel CURDA.

The men know each other and are happily reunited. Smiles,

handshakes and slaps on backs.

LADISLAV:

I see you are no strangers to one

another?

JAN:

We all trained special operations

together.

(beat)

ANTHROPOID V20:
34

(MORE)

Valcik here was even on the same

drop.

VALCIK is a heavy set, handsome man with blonde hair.

VALCIK:

Dropped ten minutes later and

thirty miles off course!

JOSEF:

Glad to see you made it in one

piece.

UNCLE HAJSKY:

Gentlemen, please sit.

JAN and JOSEF sit at the table and place their pistols in

front of them.

UNCLE HAJSKY and LADISLAV are also at the table, VALCIK and

OPALKA sit to one side. CURDA in the background.

LADISLAV:

Thanks to Valcik and his group

Silver A, we have finally

reestablished communications with

London.

VALCIK:

I have orders to send and receive

any communications between you and

London.

(beat)

You have your own decoder paper,

right?

JOSEF and JAN nod to VALCIK.

LADISLAV:

Captain Opalka and Warrant Officer

Curda have completed Operation Out

Distance so both are now available

to assist you.

(beat)

Captain Opalka is the senior

officer here.

OPALKA, early thirties, looks every inch the man you would

want as the captain of your team. Sharply chiselled face, a

determined manner. A natural leader.

OPALKA:

This is true but your mission

objective supersedes my rank.

(beat)

We had word from London.

Anthropoid. Utmost priority. Assist

with everything possible.

(beat)

This is your show, comrades.

ANTHROPOID V20:
35

JAN (CONT'D)

CURDA, a nervous man in his late twenties, looks over the

meeting as UNCLE HAJSKY unfolds a map of Prague.

UNCLE HAJSKY:

You wanted to know everything we

could find out about Heydrich.

(indicating on map)

We know he lives with his wife and

children at a country chateau in

Panenské Brezany and he has his

office in Prague at Hradcany

Castle.

(beat)

Both the chateau and the castle are

heavily guarded and so are out of

the question.

JOSEF:

What about trips to Berlin?

LADISLAV:

Probably once a month. He usually

travels by train, we would know as

the railway starts preparing the

special carriages several days in

advance.

UNCLE HAJSKY:

But the station and train will be

heavily guarded.

CURDA:

What about derailing the train

outside of Prague?

OPALKA looks at JAN and JOSEF. It’s not a bad idea.

JAN:

(looking at Josef)

Blowing up a train?

JOSEF:

It’s a possibility.

(to Valcik)

Explosives?

VALCIK:

That’s Curda’s department. Curda?

CURDA:

I can get the explosives.

JAN:

What do we know about blowing up

trains?

CURDA:

I can show you. But basically

You would need to blow the tracks

and derail--

ANTHROPOID V20:
36

JOSEF:

(interrupting)

We can derail the train, but that

is no guarantee Heydrich is killed.

(beat)

I say we check his route between

his home and the castle.

LADISLAV:

Uncle has made contact with an old

student of his who works as a

repairman at the castle. He is

willing to help but can only

provide us with the information of

what time Heydrich arrives and what

time he leaves the day after.

JAN:

What good is that?

UNCLE HAJSKY:

You can start to build a pattern of

his routine.

(beat)

Some days he travels with an armed

escort but some days he doesn’t.

Maybe there is a pattern to this.

CURDA:

This is going to take weeks!

JAN:

Then it will take weeks. We will

only get one shot at Heydrich.

After that security will be so

tight that you won’t get an olive

between him and us without making

oil.

UNCLE HAJSKY:

I will rent a flat near the castle

so the repairman can drop off the

timetable from the day before on

his way to work.

(beat)

Lenka or Marie can be there to

collect them for us.

JOSEF:

Good. We’ll check out the route he

takes between the chateau and the

castle.

LADISLAV:

(sliding them across)

Your medical certificates. Work

exempted, in case you are stopped.

OPALKA:

(to Jan and Josef)

What will you need?

ANTHROPOID V20:
37

JOSEF:

A camera with film, chemicals to

process it and make prints.

Binoculars, couple of bicycles, a

torch and some red paint.

UNCLE HAJSKY:

(frowning at the request)

That’s quite a shopping list, I’ll

see what I can do.

A pause.

UNCLE HAJSKY:

Part of Operation Out Distance was

to re-supply the resistance with

much needed cyanide capsules.

(beat)

We have lost so many of our people

to the Gestapo and without the

cyanide capsules many have talked -

giving up valuable information into

our operating procedures.

OPALKA distributes the packets of glass vials of cyanide.

UNCLE HAJSKY:

In closing I just want to say to

you all that this operation is

involving almost everyone we have.

(beat)

In the event you are captured by

the Gestapo you will have to face

some harsh facts. There will be no

escape. You will be tortured until

you tell them everything you know.

(beat)

And then you will be executed.

(beat)

You must protect your fellow

comrades and shut any links to them

down, so carry the cyanide at all

times.

A heavy beat.

38 INT. CAFÉ SLAVIA - DAY - SAME. 38

MARIE and LENKA sit at the table drinking their coffee.

A GERMAN MOTORBIKE with SIDECAR pulls up outside the Cafe.

The lookout from earlier throws down his toothpick and enters

the cafe. He strides up to the bar and presses the waiters

bell three times.

39 INT. SAFE ROOM, CAFÉ SLAVIA - SAME. 39

UNCLE and LADISLAV react to the bell and the others follow

suit.

ANTHROPOID V20:
38

JAN and JOSEF grab their pistols and JOSEF cracks the door

and the curtain to look into the Cafe.

JOSEF’s POV:
Two GERMAN soldiers stand at the bar behind the

lookout.

Behind JOSEF, UNCLE opens the window to a side alley and

starts to signal to CURDA to make an escape.

40 INT. CAFÉ SLAVIA - DAY - SAME. 40

The waiter places a coffee in front of the lookout and gives

his attention to the lead German.

GERMAN SOLDIER #1

Cigarettes.

The GERMAN SOLDIER #2 is looking at the photos of old Prague

on the wall - this interest is leading him closer to the back

room.

JOSEF sees him moving closer and turns to see CURDA going

through the window but CURDA catches a flower pot with his

foot and the pot falls from the window sill and smashes in

the alley outside.

GERMAN SOLDIER #2 hears it and he walks towards the back

room.

JOSEF steals himself and takes one step away from the door

and aims his pistol.

The German now on the other side of the door - reaches out

for the curtain.

LENKA pushes her coffee cup from the table and it smashes on

the floor.

Both the soldiers turn and look at her as she drops to one

knee and starts to pick up the pieces.

GERMAN SOLDIER #2 looks back at the door.

On the other side of the door - JOSEF, JAN and the other men

like statues - guns at the ready.

GERMAN SOLDIER #1 opens the pack as he looks down at LENKA’s

stockings as she suggestively finishes picking up the broken

cup and places it on the bar. He lights the cigarette.

GERMAN SOLDIER #1

(to German soldier #2 )

Kumpel, lass uns gehen!

GERMAN SOLDIER #2 turns and walks back to his mate.

GERMAN SOLDIER #1 drops some crowns on the bar and they

leave.

ANTHROPOID V20:
39

41 INT. SAFE ROOM, CAFÉ SLAVIA - SAME. 41

The men stand down and breathe a sigh of relief.

42 INT. MORAVEC FLAT, MAIN ROOM - MORNING 42

CLOSE UP of the wood that JAN has been whittling. JAN is now

using a filing tool. The wood is taking shape into the form

of the human figure.

JOSEF and JAN sit on the sofa staring ahead. ATA is playing

the violin in another room. MR MORAVEC is lighting up his

pipe and chattering away (one gets the impression he would

chatter away even if he didn’t have an audience).

MR MORAVEC:

(draws on pipe, billowing

smoke)

Out of Blue Boar tobacco!? Couldn’t

believe it. I told him I’d been

smoking it for twenty-odd years.

Didn’t have any. Says it’s because

of the war. Didn’t believe that for

a moment.

(to Jan)

Have you found work yet?

JAN:

Nothing concrete yet. But I think

we have a plan.

MR MORAVEC:

We have work down at the yard.

(beat)

You think perhaps you are too good

to do such work?

JAN:

No, Mr Moravec. It’s a kind offer.

(beat)

Maybe if what we have planned

doesn’t work out?

MR MORAVEC gives him a slightly suspicious look as he draws

on his pipe.

JAN and JOSEF help MRS MORAVEC to the kitchen with the

breakfast plates.

43 INT. MORAVEC FLAT, KITCHEN - MORNING 43

The dishes are being piled in the sink.

MRS MORAVEC:

(quietly to Josef and Jan)

There are two bicycles downstairs

for you. Both black, both ladies.

Sorry, it was all I could get, I

placed them there earlier.

ANTHROPOID V20:
40

(MORE)

(hands Josef two leather

cases)

A camera, loaded with film and

binoculars. The other bits you

asked for will be here tomorrow.

44 EXT. PANENSKE BREZANY - DAY 44

POV through binoculars: The entrance to Heydrich’s chateau at

Panenské Brezany. Many armed German soldiers are in evidence.

JOSEF (O.S.)

As Uncle said, there are too many

armed guards here.

JAN has turned his bicycle upside down and is pretending to

fix a puncture. Josef lays hidden from sight in a ditch with

his faced glued to the binoculars.

JAN:

(sneaking a sly look)

Looks like there is a whole

garrison there.

HEYDRICH’s 3.5 litre Mercedes convertible sharks slowly out

of the entrance. It’s being driven by his personal chauffeur

Oberscharführer KLEIN. The top is off and HEYDRICH sits in

the front.

JOSEF:

Looks like our man.

(beat)

What’s the time?

JAN:

(checks watch)

Five minutes after nine.

The Mercedes approaches them and roars past at sixty miles

per hour.

JAN busy with his tire and JOSEF digging deep to keep out

sight.

JOSEF:

Anything else coming?

JAN:

No. Riding solo today.

(beat)

Oh, wait.

An armed escort now roars past doing its best to keep up with

HEYDRICH but with no way of catching up.

JAN:

Armed escort.

(beat)

Two minutes behind.

ANTHROPOID V20:
41

MRS MORAVEC (CONT'D)

The armed escort races past. JOSEF gets up and dusts himself

down.

JOSEF:

(retrieving his bicycle)

If we can stop the Mercedes using a

rope or steel cable across the road

then two minutes would be all we

need.

JAN:

(placing his bicycle the

right way up)

Even if the rope stops the car we

need more than two minute to escape

from here. We would have to deal

with the armed guard here in the

open.

(beat)

It would not be my first choice.

JOSEF:

And if it’s our only choice?

Jan is silent.

JOSEF:

The point of the mission is to

succeed.

JAN:

I’m more worried that we haven’t

planned what to do if we are

successful.

JOSEF:

What happens after is not

important.

JAN stares at JOSEF.

JAN:

Just because London has given no

information that extends beyond the

mission objective doesn’t mean

there shouldn’t be one.

There is a long silence between them until finally:

JOSEF:

Let’s follow the route to Hradcany

Castle.

45 OMITTED 45

46 EXT. PRAGUE STREET - DAY 46

JOSEF and JAN cycle down a street. Ahead there seems to be a

commotion. People in the street.

ANTHROPOID V20:
42

JAN and JOSEF come to a stop and dismount their bicycles.

They push them through the people who stand and look up. Some

of the people are emotional, others as still as statues. All

are mostly silent.

German soldiers are very much in evidence. A German motorbike

and side car.

Soldiers with German shepherds that bark.

JAN and JOSEF make their way through and then see what

everyone is looking at.

Continuing all the way to the end of the street are people

hung from the street lamp posts by their necks. Signs hang

from their necks; “Traitor” - “Communist” - “Jew”.

It’s a haunting site. Hell, seeping its way into the city.

JAN looks at JOSEF. They continue on in silence.

PAN AND CROSS:

FADE:

47 INT. CAFE - AFTERNOON 47

JOSEF smokes a cigarette. Lost in thought.

Looks around the cafe.

Uncomfortable shuffles, averted looks.

A knock on the glass window. JOSEF turns:

It’s LENKA.

JOSEF nods to her and she enters and sits opposite.

They silently look at each other. LENKA has made an effort to

look plain but her natural beauty is easy to see.

LENKA:

Do I look plain enough?

JOSEF stubs out his cigarette in the ashtray and nods.

LENKA:

Are you sure?

(teasing)

I can go rub some mud on my face if

you would like?

JOSEF:

We have a tram to catch. Let’s go.

48 INT. TRAM - AFTERNOON 48

LENKA and JOSEF sit side by side.

ANTHROPOID V20:
43

The other passengers avert eyes. The tram silent. Then comes

to a stop. JOSEF signals it’s their stop and they get off.

49 EXT. PRAGUE STREET NEAR CASTLE - AFTERNOON 49

Busy street with workers starting to make their way home.

JOSEF and LENKA walk and suddenly in front of them are four

German soldiers waiting around.

JOSEF calculates it’s too late to cross the street without

looking suspicious so they walk past them.

The soldiers stare at LENKA and a couple of them wolf whistle

and a few lewd comments are heard in German.

Once past, JOSEF guides LENKA across the street to the corner

of Kirchmayerstrasse into Klein Holeschowitzerstrasse.

JOSEF:

I need to take some pictures. Will

you be my model?

LENKA smiles.

JOSEF takes out the CAMERA from its case. It’s an old

Rolleicord twin-lens reflex camera:

LENKA stands in front of JOSEF.

JOSEF frames the camera but it seems to be pointing at the

street behind LENKA.

She looks over her shoulder at the street and then back to

JOSEF.

JOSEF takes a picture and then winds the film.

JOSEF:

OK, one from over there.

LENKA re-positions herself.

JOSEF re-frames. Again the position of the frame seems to be

off to one side at the street corner behind her.

CLICK. JOSEF winds the film. Re-positions the camera to the

other side of LENKA where there is a waiting tram and CLICK.

LENKA realises that JOSEF is shooting a reconnaissance of the

area and has no interest in taking her photo.

Another CLICK and WIND.

JOSEF now points the camera at LENKA. Her guard down. An

honest moment. The real LENKA exposed for a fraction of a

second. She is looking at JOSEF but almost off into the

distance. JOSEF intuitively senses something in that moment

and takes a picture.

ANTHROPOID V20:
44

In EXTREME CLOSE UP we see the metal shutter and iris open

allowing the light onto the film. The mechanical shutter

grunts and then snaps shut.

50 EXT. PRAGUE CITYSCAPE - DAWN 50

The black spires rise out of the dawn mist, eerie.

51 EXT. HRADCANY CASTLE - MORNING 51

HEYDRICH’s Mercedes pulls through the gates of the castle. An

armed escort right behind.

From a window above, the REPAIRMAN watches down as the car

enters the gates of the castle.

52A EXT. PRAGUE CITYSCAPE -DAWN 52A

A new dawn over the city as it slowly starts to wake.

52 EXT. PRAGUE STREET NEAR CASTLE - MORNING 52

We follow a man from behind as he walks down the street.

CLOSE UP of the man’s hand as he reaches into his jacket

pocket and takes out a small envelope.

He stops by a window of an apartment that looks out onto the

pavement and he knocks on the glass.

The window opens and he hands the envelope to LENKA.

He looks at her for a second. He is the REPAIRMAN.

The REPAIRMAN’s POV through the window: he sees JOSEF and JAN

partly hidden by the blowing net curtains.

The REPAIRMAN continues onto the castle.

53 INT. UNCLE HAJSKY’S RENTED FLAT - MORNING 53

LENKA gives the envelope to JOSEF. He opens it.

CLOSE UP on the contents:

9.15 - 5.15 With.

JAN:

Well?

JOSEF:

Arrived 9.15. Left at 5.15. With an

armed escort.

MARIE looks at LENKA.

ANTHROPOID V20:
45

LENKA:

Armed escort?

JOSEF looks at LENKA and then at JAN. Not sure how much to

reveal.

LENKA:

There is only one person in Prague

that travels with an armed escort.

MARIE looks slightly panicked.

LENKA:

You’re going to assassinate

Heydrich?

MARIE:

What? Heydrich is the target?

JAN:

For your own safety, it’s best you

don’t ask too many questions.

LENKA:

It’s a bit late for that, no?

JOSEF:

You agreed to help the resistance.

Who the target is does not concern

you.

LENKA:

We are about to help you murder

Reinhard Heydrich. Of course it

concerns us!

JAN:

OK, everyone just calm down.

JAN leads MARIE to a seat at the table. Makes her sit.

JAN:

Maybe it was a mistake not to

inform you of the danger ...

MARIE:

(still reeling)

Murder Heydrich?

JOSEF:

Assassinate.

(beat)

Murder somehow implies he has a

life worth living.

On the table in front of LENKA is JOSEF’s pistol.

LENKA:

You think I’m some little girl that

is just here to follow the

important parachutists around?

ANTHROPOID V20:
46

She takes JOSEF’s pistol and strips the clip, the top barrel,

removes the chambered bullet and inspects the line, then

resembles it. It all takes no more than six seconds.

She stands and walks towards JOSEF where she hands him the

gun.

LENKA:

We have been resisting in our own

way from the beginning.

(beat)

I personally don’t have any

reservations killing a Nazi pig.

(beat)

But don’t treat us as though what

you are about to do doesn’t affect

us.

(beat)

It does and it will.

(hands Josef his pistol)

And you should keep your weapon

clean. It’s filthy.

JOSEF shares a look with JAN. They’ve been told.

54 OMITTED 54

54B INT. MORAVEC FLAT, BOX ROOM - NIGHT 54B

JOSEF places the camera on the table.

Pours some chemicals into a measuring jug and then into a

soup pot. Indicates to JAN to hit the light. The room goes

dark and JOSEF takes the film from the camera and places it

in the pot.

JOSEF:

OK.

JAN switches the light back on and JOSEF shakes the pot while

looking at his watch.

JOSEF places a light bulb into a pot of red paint.

The negatives are processed and JOSEF inspects them under the

room light.

Books are placed on top of one another forming two small

towers.

A 12x12 cm matte is cut from white card to be used as a

printing easel.

JOSEF removes the back of the camera and balances the camera

between the books with the lens facing down and the open back

facing up.

ANTHROPOID V20:
47

The now red light bulb is screwed into the socket. JAN

switches the main light off and JOSEF switches on the red

bulb. The room bathed in red light safe for printing.

The negatives are laid onto the open camera back and JAN

holds a torch above to shine light through the negative. The

negative is projected through the lens and appears onto the

board below.

JOSEF turns the focus knob and a negative image comes into

sharp focus on the printing easel - A home made enlarger.

The torch is switched off and paper placed into the easel.

The torch is switched back on and then off for an exposure.

The printing paper is then placed into a frying pan filled

with developing chemical and gently rocked.

An image of a Prague street slowly starts to appear on the

printing paper.

55 INT. MORAVEC FLAT, KITCHEN - EVENING 55

MRS MORAVEC is doing the dishes with MARIE doing the drying.

In the background we hear ATA practicing the violin.

56 INT. MORAVEC FLAT, BOX ROOM - EVENING 56

JAN and JOSEF sit looking through the photos that JOSEF took

with the Rolleicord.

Street of the route Heydrich takes to work everyday. On the

edge of each photo is an out of focus LENKA.

JOSEF takes a magnifying glass and studies the photos in

minute detail.

CLOSE UP of photo - The sharp turning from Kirchmayerstrasse

into Klein Holeschowitzerstrasse.

JOSEF:

So, in the morning he approaches

from that direction and then turns

here to his right.

(beat)

It’s a pretty sharp turn. He would

have to slow down quite a bit.

JAN:

It’s the slowest part of the whole

route.

JOSEF:

(nods)

We’re not going to find anywhere

better.

ANTHROPOID V20:
48

JAN:

(shrugs)

Perhaps not perfect, but you’re

right, nowhere better.

They regard each other and are in agreement. JOSEF looks down

at the photos and sees the final photo he took of LENKA. It

stops him and he regards it for a second. JOSEF separates the

photo from the rest and places it in his wallet.

JAN notices. JOSEF stands.

57 INT. MORAVEC FLAT, MAIN ROOM - EVENING 57

ATA stands in front of a music sheet stand practicing as

JOSEF enters the room. JOSEF watches ATA perform.

ATA finishes the piece and looks at JOSEF.

JOSEF:

I need to see Uncle. Can you let

him know?

ATA nods.

MR MORAVEC enters the front door. He sees JOSEF talking

closely to ATA and he sees ATA nodding in affirmation.

ATA and JOSEF look over at MR MORAVEC. A moments pause and

then JOSEF heads back to his room and ATA starts playing the

violin.

MR MORAVEC looks concerned.

58 INT. UNCLE HAJSKY’S RENTED FLAT - MORNING 58

JAN sits whittling the wood and looking up inspects MARIE who

sits opposite trying to reassemble JAN’s pistol.

JAN:

Breach over the lock.

(beat)

Slide and release.

She completes the action.

JAN:

There you go.

MARIE smiles at learning the action.

MARIE:

Tell me what London was like.

JAN:

(reminiscing)

Me and Josef only went once. There

was a blackout in place and then a

Blitz raid.

ANTHROPOID V20:
49

(MORE)

The London Underground was used as

air raid shelters and we spent the

night there listening to the

English sing their songs.

There are three knocks followed by one knock on the window.

JAN stops and MARIE goes to the window and opens it.

The REPAIRMAN passes the envelope through. He looks past

MARIE and locks eyes with JAN.

JAN’s POV of the REPAIRMAN is interrupted by the net curtain

blowing in the wind.

The REPAIRMAN then leaves and continues to work.

MARIE hands it to JAN.

JAN switches his attention to the envelope. Opens it:

JAN:

9.17 - 4.42 Without.

JAN writes it down on the sheet. We see that there is at

least eight such entry times on the sheet.

JAN runs his hands through his hair and exhales a frustrated

breath.

MARIE looks at JAN.

JAN:

I don’t see any pattern. The start

times are consistent but the armed

escort seems to be pot luck.

(beat)

Some days yes, some days they’re on

their own.

MARIE:

Are you really going to go through

with this?

JAN:

We have our orders.

MARIE:

So you kill Heydrich. What then?

You think there aren’t more like

him? They come and the killing

continues, even worse than it did

before.

(beat)

When does it stop?

JAN:

I wish I had an answer for you. You

think any of this makes sense to

me?

(beat)

Things used to be simple.

ANTHROPOID V20:
50

JAN (CONT'D)

(MORE)

I worked at a paper factory. Clock

in at eight, clock out at five.

Wages on a Friday and a drink with

the boys. A date on Saturday, go to

the pictures on Sunday.

(beat)

Now I’ve been given orders to

assassinate a high ranking SS

officer that very few of us will

have any chance of walking away

from.

MARIE holds a clenched fist to her chest as if in pain.

MARIE:

Then let’s walk away now. Let’s

just leave.

JAN:

And go where, Marie? You think we

can escape from what is happening?

Pretend this madness is not real?

MARIE:

Some days, I’m not even sure it is

real. Heydrich chokes the people of

this city with a blanket of fear.

People shot for what? Their race?

Their religion? Their cigarettes?

(beat)

And my father says we are lucky as

the Germans need the Czech people

and their factories to make

armaments.

(starts to cry)

You hear the stories about Poland.

JAN takes her hand.

JAN:

Shhh, Marie, it’s okay.

They are suddenly very close, looking at one another.

MARIE:

(searches Jan’s eyes)

We were taught ‘Thou shall not

kill’ and yet here we are planning

to kill someone. Just tell me we

are doing the right thing. That two

wrongs will somehow make a right?

JAN searches her eyes for the longest time.

59 EXT. CITY PARK - DAY 59

JOSEF and LENKA walk through the mist covered park. The trees

seem like black statues.

ANTHROPOID V20:
51

JAN (CONT'D)

LENKA looks over JOSEF. New lines of stress have appeared on

his face.

JOSEF:

I think it’s my turn to apologize

to you about the other morning.

(beat)

You were right to be angry. We

should have told you what was at

risk.

(beat)

To give you the choice to walk

away.

LENKA:

(ironic huff)

Walk away?

(beat)

Opinions are divided as to what

constitutes resistance.

(beat)

Many have got used to German rule.

(beat)

Many are just scared.

JOSEF:

But not you.

LENKA’s turn to give JOSEF a silent glance.

JOSEF:

You know your way around a pistol.

LENKA:

My father was a captain in the

army.

(beat)

Wanted sons but got three

daughters.

(beat)

He and many others were arrested in

‘39 when Germany took control of

Czechoslovakia.

(beat)

When Heydrich first took power here

last September, his first order was

to execute all the prisoners.

JOSEF:

I’m sorry.

LENKA:

My father was among five thousand

of the best military and academic

minds shot in the first week by

Heydrich.

(beat)

Afterwards, people started to call

Heydrich the butcher of Prague.

(beat)

So, for me, there is no walking

away, Heydrich is worth the risk.

ANTHROPOID V20:
52

JOSEF give her a look. She, like many people, has lost a lot

since the invasion of Czechoslovakia.

LENKA nods.

There is a man sitting on a bench reading a newspaper.

JOSEF and LENKA sit on the bench next to him and we see it’s

UNCLE HAJSKY.

LENKA sits in the middle and JOSEF acts as if he is talking

to LENKA but he’s actually talking to UNCLE HAJSKY.

JOSEF:

We have checked the route.

(beat)

We think we know how to do it.

UNCLE HAJSKY:

What will you need?

JOSEF:

We are going to need Opalka, Valcik

and Curda.

UNCLE HAJSKY:

OK. I will arrange a meeting at the

café the day after tomorrow, 3pm.

JOSEF:

Our original contact address here

in Prague was Oldrich Novák. Did

you ever find out who had informed

the Gestapo about him?

UNCLE HAJSKY shakes his head no.

JOSEF:

Who was his direct handler?

UNCLE HAJSKY:

Vanek Ladislav.

JOSEF:

And Ladislav? How long has he been

part of the Jindra resistance?

UNCLE HAJSKY:

He was one of the first.

JOSEF:

You trust him?

UNCLE HAJSKY:

(thinks)

Yes. Why?

JOSEF:

He is one most opposed to what we

have to do.

ANTHROPOID V20:
53

UNCLE HAJSKY:

He fears reprisals.

JOSEF:

From the Gestapo if he doesn’t

inform them or from Jindra if he

does?

JOSEF stands and LENKA follows.

JOSEF:

(lighting a cigarette)

When a man doesn’t want to rock the

boat, you have to ask what is he

afraid of?

A long pause as UNCLE HAJSKY thinks about it.

UNCLE HAJSKY:

I’ll look into it.

JOSEF and LENKA continue their stroll through the park.

60 INT. UNCLE HAJSKY’S RENTED FLAT - DAY 60

JOSEF and LENKA enter the flat.

JAN and MARIE are nowhere to be seen.

A soft clicking noise and we see a gramophone, the record

finish, the needle catching.

LENKA picks up the needle and looks at the record that was

playing. She smiles and puts the needle back to the beginning

of the record.

JOSEF opens the door to the bedroom.

JAN stands by the bed pulling his trouser braces over his

shoulders, his shirt undone. MARIE is in the bed. She pulls

the sheets over her naked breasts.

The music starts in the background.

JOSEF:

Sorry.

He closes the door and looks at LENKA.

A brief moment passes before them before they both try and

make themselves busy.

61 INT. CAFÉ SLAVIA - AFTERNOON 61

Steam pours from a large antiquated coffee machine.

JAN and JOSEF enter with LENKA and MARIE. The girls take a

seat at the table near the window.

ANTHROPOID V20:
54

JOSEF and JAN nod to the PROPRIETOR behind the counter as

they go to the back room.

62 INT. CAFÉ SLAVIA, SAFE ROOM - AFTERNOON 62

OPALKA, VALCIK are drinking cikorka. UNCLE HAJSKY and

LADISLAV at the table. JOSEF and JAN join them. CURDA guards

the curtain at the café doorway.

JOSEF takes out a map of Prague and spreads it on the table.

JOSEF:

We have checked every inch of his

route from his home to the castle.

(points at the map)

Here...

OPALKA checks the map.

JOSEF:

Corner of Kirchmayerstrasse into

Klein Holeschowitzerstrasse.

OPALKA nods.

OPALKA:

His car would have to slow down to

take that corner.

JOSEF:

Really slow down.

(beat)

He takes it at about 10 miles per

hour.

JAN:

We’ve looked everywhere else and we

think this is the only place it can

be done.

OPALKA:

(checks the area on the

map)

You have good exit routes. The busy

street will add to the confusion

and cover your escape.

JAN:

We averaged out all his morning

arrival times and can expect him at

approximately 9.30am.

OPALKA:

Weapons?

JOSEF:

At that range? The Sten gun should

hit everything within the car.

ANTHROPOID V20:
55

JAN:

We also have two Model 73 anti-tank

grenades.

(beat)

We may need more than the guns to

stop the vehicle. The grenades can

be rigged to explode on impact.

UNCLE HAJSKY:

And the armed escort?

There is a slight pause. JOSEF looks at JAN.

JAN:

We have found no pattern for the

armed escort. Some days he has it,

some days he doesn’t.

JOSEF:

Valcik, we are going to need a look

out fifty yards up the road here.

(taps the map)

We will need an early signal to

know if the armed escort is with

him or not.

VALCIK nods.

OPALKA:

And if it is?

JOSEF:

Then we stand down and await the

next day.

LADISLAV:

Comrades, you know I have been

against this action from the start.

I can’t give the go-ahead without

asking London to reconsider.

Glances are exchanged between UNCLE HAJSKY and JOSEF.

CURDA:

I’m with Ladislav. We should get

London to rethink our position here

in Prague.

JOSEF:

We have our orders.

CURDA:

It’s easy for London to give

orders - it’s our lives on the

line...

LADISLAV:

(overlapping)

Then at least wait for reconfirmation.

ANTHROPOID V20:
56

JOSEF:

It’s taken four months just to get

this far.

(beat)

London needs action...

LADISLAV:

Then a few more days won’t make a

difference.

(looking to Valcik)

Valcik? How long before you can get

to the transmitter.

VALCIK:

We can get to the transmitter the

day after tomorrow. Then a couple

of days for London to transmit back

the answer.

UNCLE HAJSKY:

Then that is settled. Remain at the

Moravecs’ place. I’ll contact you

through Ata.

Grave looks are exchanged from the divided men.

63 INT. MORAVEC FLAT, MAIN ROOM - NIGHT 63

Close up of a birthday cake with 19 candles.

Everyone congratulates ATA on his birthday.

The cake is placed in front of ATA. He blows out the candles -

a moments darkness.

Clapping and cheers - A brief mood of merriment within so

much repression.

MARIE turns on the lights of the living room.

JAN, JOSEF, MARIE, LENKA, MR and MRS MORAVEC all present as

the cake is cut and distributed.

Wine glasses show that all are relaxed and in good cheer.

ATA:

Thank you!

JOSEF raises a glass to ATA.

JAN has his arm around MARIE and he looks slightly drunk as

he knocks back his glass of wine.

He whispers something in her ear and then ‘tings’ his wine

glass with a tea spoon.

JAN:

Ata, I know tonight is your party

but I just wanted to make a little

announcement.

ANTHROPOID V20:
57

JAN clears his throat and smiles at MARIE.

JAN:

I have asked Marie to marry me and

she has said yes.

More clapping and words of congratulations are spoken.

JOSEF smiles but it fades to a dark look that he tries to

cover.

LENKA notices it, and JOSEF sees that she has seen it - looks

away.

64 INT. MORAVEC FLAT, BOX ROOM - LATER. 64

JOSEF stands in front of a mirror shaving. Mind deep in

thought.

In the background JAN enters the room. He is drunk. Swaying.

JOSEF watches him in the mirror, the elephant in the room is

putting him off his shave. JAN regards him.

JOSEF wipes his face with a towel and faces JAN.

JOSEF:

You know why we are here right?

(beat)

What we are about to do?

JAN nods, eyes trying to focus on JOSEF as he processes the

thought and regrettably nods.

JOSEF:

Then what the fuck are you doing?

JAN lost in thought, then a hopeful look at JOSEF.

JAN:

Who is to say it won’t happen?

(beat)

London calls it off.

JOSEF:

They won’t.

(beat)

We’re too close and London knows

it.

Jan starts to emotionally break a little.

JOSEF steps forward and grabs the lapel of his jacket.

JOSEF:

You got to lock that away.

(beat)

I don’t want your emotions

affecting your judgement and

jeopardizing the operation.

ANTHROPOID V20:
58

JAN nods. Coming back to focus and putting on a brave face.

JAN:

I have to think that there is a way

through this.

(beat)

That when this is all over, there

will be a normal life waiting for

us. The way things used to be.

(beat)

Marie makes me feel that there is

hope.

(beat)

I love her.

JOSEF doesn’t have an answer. He has nothing similar that

gives him strength other than the mission itself. Maybe he is

even a little envious that JAN has this.

He releases his grip on JAN’s lapel.

65 INT. UNCLE HAJSKY’S RENTED FLAT - DAY. 65

JOSEF sits at the table. The Sten gun in 4 pieces laid out

before him. He is slotting the weapon back together

BLINDFOLDED. He does it quickly placing the finished gun on

the table.

JAN looks at his watch.

JAN:

15 seconds but you didn’t add the

gunstock.

JOSEF removes the blind fold.

JOSEF:

Lighter and smaller without it

(beat)

OK. I will try doing under my coat.

LENKA and MARIE watch on as JOSEF takes the gun apart again.

LATER and we see a series of close up shots of the Model 73

anti-tank grenade being taken apart and replaced with new

pencil fuses.

JAN:

The Model 73 is just too big.

Sweat pours from JAN’s face as he concentrates on the

explosive.

JAN takes the explosive from the Model 73 and fits it into

cout down water canteen and tapes it up with tape. He

finishes the delicate work and slowly slides them across the

table.

ANTHROPOID V20:
59

JAN:

Had the idea to transfer the Model

73 into water canteen for better

portability.

JOSEF seems impressed.

JAN:

(placing the finished item

in front)

Rigged for impact detonation.

JOSEF:

Don’t drop them...

JAN moves his hand and knocks one of the Model 73 grenades

over, it rolls and falls off the edge of the table.

JOSEF dives for it and catches it before it hits the ground.

JAN looks down at JOSEF on his back with amusement.

JAN:

That’s the empty one.

They both start to laugh nerviously.

66 INT. MORAVEC FLAT, MAIN ROOM - EVENING 66

JAN, JOSEF, MRS MORAVEC and MR MORAVEC are sitting around the

crowded table. The meal is coming to an end.

ATA enters and takes a seat. He sees his father lighting his

pipe and slides an envelope across the table towards JOSEF.

ATA:

(whisper)

From Uncle.

JOSEF takes the envelope and nods.

67 INT. MORAVEC FLAT, BOX ROOM - EVENING 67

JOSEF opens the envelope and takes a piece of paper from it.

The page full of letters like a letter puzzle.

He holds it up to the light and JAN takes the DECODER PAPER

we saw earlier from under the bed and small book.

JOSEF starts to decode the message. Looking at sentences in a

book and counting the letters he starts to decode the

message.

JOSEF:

A-N-T-H-R-O-P-O-I-D.

(beat)

P-R-O-C-E-E-D. S-T-O-P.

ANTHROPOID V20:
60

(MORE)

(beat)

U-P-M-O-S-T. I-M-P-O-R-T-A-N-C-E.

JAN:

Is that it?

(beat)

Nothing about getting us out

afterwards?

JOSEF:

We complete the mission and await

further instructions from London.

JAN:

London knows this is a probable

suicide mission...

A long pause between the men as they consider this. It’s

interrupted by three sudden knocks at the front door. KNOCK!

KNOCK! KNOCK!

JAN and JOSEF grab their guns. Then:

KNOCK!

JAN:

It’s Uncle.

68 INT. MORAVEC FLAT, HALLWAY - EVENING 68

JOSEF opens the front door. UNCLE HAJSKY and LADISLAV stand

there.

They let them in. They look slightly panicked.

69 INT. MORAVEC FLAT, DINING ROOM - EVENING 69

The men stand around the dining table.

UNCLE HAJSKY:

We have a problem.

(beat)

One of our spies within the

Heydrich house has read a piece of

correspondence that has ordered

Heydrich back to Berlin.

(beat)

Within the household there have

been conversations about a new

posting to Paris.

(beat)

It means that after he leaves for

Berlin he may not be back.

JAN:

When does he leave?

UNCLE HAJSKY:

28th May.

ANTHROPOID V20:
61

JOSEF (CONT'D)

Panicked looks.

JAN:

That’s the day after tomorrow!

UNCLE HAJSKY:

Tomorrow morning will be your only

chance.

(beat)

After that he is gone for good.

Looks are exchanged.

JOSEF:

Then we have no choice. We do it

tomorrow.

LADISLAV takes a long look at UNCLE.

JAN:

What is it?

UNCLE HAJSKY:

Vanek here received a transmission

from London.

Silence.

JAN:

And?

LADISLAV:

They agreed with my request to

stand down the mission.

He takes a piece of paper from his pocket and reads:

LADISLAV:

We believe we see the situation

clearly, therefore, given the

situation, any actions against

officials of the German Reich do

not come into consideration. Let

Jindra group know.

JAN looks hopefully at JOSEF.

JOSEF:

Uncle gave us a coded message from

London. Our mission has not

changed. We are to go ahead as

planned.

LADISLAV:

But this clearly states you must

stand down.

JOSEF:

That message was not for us and we

do not recognize it as a direct

order to stand down.

ANTHROPOID V20:
62

LADISLAV:

Then at least wait for us to

clarify it. It may have superceded

your order.

JOSEF:

We do not have the luxury of time.

After tomorrow Heydrich is gone.

UNCLE HAJSKY:

I have to agree with Josef. That

transmission does not read like a

direct order and I believe it was

sent to settle nerves within the

Jindra group.

A long silence, then LADISLAV gathers his things.

LADISLAV:

I know you all doubt me. Suspect me

of collaboration.

UNCLE HAJSKY:

Vanek...

LADISLAV:

Please stop Uncle...

LADISLAV:

I know you’ve had me followed.

(beat)

I understand you don’t trust me but

you have been planning this mission

for the last five months. If I was

an informer for the Gestapo, you

think you would still be here? Do

you?

JOSEF:

Then why are you so against it?

(beat)

What are you afraid of?

LADISLAV gives a huff with a shake of the head.

LADISLAV:

And Jesus asked him, “What is your

name?” He replied, “My name is

Legion, for we are many.

(beat)

What kind of retribution is fitting

for the man that may be the devil

himself.

(beat)

I fear Czechoslovakia will be wiped

from the map.

(beat)

You ask me if I’m afraid?

(beat)

Yes, I’m afraid.

A pregnant pause hangs in the air.

LADISLAV turns on his heels and leaves, passing Mr. Moravec

as he enters the dinning room.

ANTHROPOID V20:
63

The raised voices have clearly woken Mr. Moravec from his

sleep.

MR MORAVEC:

What is going on here?

JAN:

I’m sorry Mr. Moravec. Please go

back to bed.

A long tense moment.

MR MORAVEC:

I know what you are planning to do.

(beat)

We are all resisting in our own

way. But I must think of my family

first.

(beat)

I would like you both gone from

here after tomorrow.

The men nod and Mr. Moravec finally leaves.

JOSEF:

(back to Uncle)

We do it tomorrow morning. As

planned.

UNCLE HAJSKY:

And if he has an armed escort?

(beat)

We can’t stand down and wait

another day...

A few tense looks.

JOSEF:

Get word to Opalka, Curda and

Valcik. If there is an escort then

they can keep them busy but the

first bullet has to be for

Heydrich.

(beat)

Tell them to be on the corner at

8am.

UNCLE HAJSKY gives a sad but reassuring smile.

UNCLE HAJSKY:

May God be with you.

UNCLE HAJSKY and LADISLAV turn and leave.

70 INT. MORAVEC FLAT, BOX ROOM - NIGHT 70

JOSEF places the weapons on a small table.

JOSEF examines the Sten gun. He removes the stock to make it

shorter.

ANTHROPOID V20:
64

JOSEF clears the chamber of the Sten, clocks it and releases

the trigger. The hammer makes a hollow click. He dismantles

it into 3 pieces and places it in a black bag, and then

places some STRAW over the top to hide it.

JAN:

It’s tomorrow!?

JAN is pacing again like a caged animal. He is trying to deep

breathe but the walls seem to be crashing inwards.

Frustration of the uncertainty of what lays ahead. Panic

attack fast approaching. Hyperventilating and muscle cramps.

JAN:

It’s tomorrow!?

JOSEF goes to him but JAN pushes him away.

JAN:

(breaking down)

I don’t want to die tomorrow.

JOSEF grabs him and tries to restrain him. JAN resists. A

vase is knocked from the side table and smashes on the floor.

JOSEF gets behind JAN and controls a slide down the wall

until they are both sat on the floor. JOSEF behind JAN.

MRS. MORAVEC comes in. JOSEF holds one hand up to her.

JOSEF:

It’s okay, it’s okay...

MRS. MORAVEC looks worried but nods and leaves the room.

JOSEF:

Hey! Hey! Breathe! With me.

(beat)

Big breathe in.

(beat)

Big breathe out.

Grabs a clip and a box of ammo from the table.

JOSEF:

Here! Look, as we were trained.

JOSEF loads a bullet into the clip.

JOSEF:

Nice and easy. You do it.

JAN starts to load a bullet in to the clip.

JOSEF:

That’s it. Easy does it. And again.

JAN loads another. The panic attack subsiding.

ANTHROPOID V20:
65

JOSEF:

There you go.

(beat)

It’s OK. Breathe, concentrate on

the detail.

It’s an incredibly tender and heart-breaking scene. We have

never seen JAN this vulnerable before and we have never seen

JOSEF this caring.

JAN:

I’ve shot at men in the field.

(beat)

Never killed one up close.

JOSEF:

We have a job to do. People are

counting on us.

JAN:

If he does have an armed escort

tomorrow...

JOSEF:

We must send a clear message that

we are not afraid. That

Czechoslovakia is not afraid.

(beat)

Whatever the outcome for us,

Heydrich must die.

A pause. JOSEF nods his head.

JAN looks into space for a second and then nods his head in

agreement.

71 INT. MORAVEC FLAT, BOX ROOM - NIGHT 71

Two beds on the floor. Soft moonlight bathes the room. A

clock gently ticks.

JAN and JOSEF’s eyes are wide open and staring up at the

ceiling. Each lost in thoughts of the mission.

72 EXT. PRAGUE PANORAMA - DAWN. 72

A high-angled panoramic shot of the city of Prague.

73 INT. MORAVEC FLAT, DINING ROOM - MORNING. 73

JAN and JOSEF enter the dining room with their coats and

briefcases.

MRS MORAVEC stands and begins to gather the dishes.

ATA eats breakfast and MR. MORAVEC gives JAN and JOSEF a dark

look.

ANTHROPOID V20:
66

Awkward silence.

MRS MORAVEC takes the plates out to the kitchen.

JAN follows her out.

74 INT. MORAVEC FLAT, KITCHEN - EVENING 74

MRS MORAVEC starts to wash the dishes. She is suddenly aware

that JAN is looking at her. They exchange a glance.

JAN hands MRS MORAVEC the small figure he has carved in wood.

MRS MORAVEC looks at the figure in her palm.

CLOSE UP of the figure. It’s a wooden figure of a German SS

officer.

She suddenly understands, swallows hard.

MRS MORAVEC then looks across to ATA who is wiping his plate

with a crust of bread unaware of what has just taken place,

but he must know.

MRS MORAVEC places the figurine into the front pocket of her

pinafore and brushes some imagined crumbs from her dress. She

nods in confirmation.

MRS MORAVEC leans on the counter for support. She looks at

JAN, both silent.

75 EXT. MORAVEC BUILDING - EARLY MORNING 75

JAN and JOSEF walk across the street and to an alley where

two bicycles are parked. They pull the bicycles into the

street and find LENKA waiting there. She looks deeply preoccupied

and doesn’t take her eyes off JOSEF.

JAN notices.

JAN:

I’ll wait for you up the street.

JAN walks off and leaves LENKA and JOSEF facing each other.

LENKA:

Uncle said we weren’t needed for a

while.

(beat)

It’s today, isn’t it?

JOSEF nods.

A long pause hangs in the air between the two of them.

LENKA:

Promise me -

ANTHROPOID V20:
67

She stops halfway through her sentence. She knows that nobody

can promise anything in times like this.

Their eyes locked. Time almost frozen.

JOSEF steps forward and kisses her. His action quick. His

body almost swallowing her up. And then he is gone. LENKA

finds gravity again with a sound of expelled breath.

JOSEF now striding off in to the distance. Doesn’t look back.

76 EXT. KIRCHMAYERSTRASSE - MORNING 76

JOSEF and JAN cycle down the street. Ahead they see VALCIK

and OPALKA standing by a tram stop.

JOSEF and JAN park their bicycles against a fence.

The four men meet and light cigarettes as if they are just

normal men ready to start their day’s journey to work.

JAN:

(checking watch)

We have plenty of time. 8.25.

(beat)

Where is Curda?

OPALKA and VALCIK shrug. CURDA is missing.

JOSEF:

(lighting cigarette)

Valcik, you take to the hill up

there.

(checking the sky)

We have some sun so take this

mirror.

(beat)

If he approaches without an armed

escort then use it to signal this.

VALCIK:

And if he does?

JOSEF:

Then light a cigarette.

(beat)

When the car slows to take the

corner I will step out and open

fire with the Sten. My action will

signal the attack.

(beat)

Jan, stand behind the attack point

so you can throw the grenades at

the armed escort if there is one.

(beat)

Opalka, when you see the car

approach, try a slow walk across

the street, see if you can slow him

down even further before he takes

the corner.

ANTHROPOID V20:
68

(MORE)

(Opalka nods)

Good luck.

The men disperse to their agreed stations.

JOSEF and JAN take a seat on a nearby bench. JOSEF takes the

parts of the Sten gun from the black bag and re-assembles

them under his raincoat which is draped across his legs.

VALCIK has taken up his position further along from where he

will get the first sight of HEYDRICH. He looks at his watch:

9.05.

OPALKA looks up towards VALCIK then across to where JOSEF and

JAN are sitting.

JOSEF pulls the firing pin back on the Sten. The hollow sound

indicates that the weapon is cocked and ready.

JAN:

All good?

JOSEF:

Good.

They both stand up.

There is a moment between them. Everything has led to this.

They give a nod.

JOSEF nods and JAN turns towards his position further up

Klein Holeschowitzerstrasse.

JAN looks across to OPALKA and nods as several trams arrive

and disgorge passengers.

A WOMAN passes pushing a pram.

A MAN hobbles by on crutches.

Two YOUNG LOVERS walk by hand in hand.

A car honks its horn.

A horse pulls a cart loaded with scrap metal.

This is Prague, a living city. On the verge of a major event.

JOSEF and JAN look up to VALCIK waiting for a signal.

JAN looks at his wristwatch: 10.10.

JAN looks over to JOSEF who gives a shrug.

JAN looks down. His hand starts to shake uncontrollably. He

grabs his wrist and tries to stop it. His breathing is heavy.

JAN:

(to himself)

Breathe, as we were trained...

ANTHROPOID V20:
69

JOSEF (CONT'D)

He looks up.

VALCIK at the top of the street suddenly turns and gives the

signal, a mirror flashing the reflection of the morning sun

across the faces of JAN and JOSEF. HEYDRICH is approaching

and without an armed escort!

JOSEF steps out to the corner of the street with the Sten gun

concealed under his draped coat.

JAN opens the brief case and grabs a grenade ready to throw.

Two trams come to a halt on the opposite side of the road.

HEYDRICH’s Mercedes speeds over the hill and down

Kirchmayerstrasse.

JAN looks at the Mercedes as it starts to slow down.

JAN’s POV:
As OPALKA crosses the street in front of the

Mercedes. The Mercedes breaks and sounds its horn at OPALKA.

JOSEF sees the Mercedes approaching him and the turning.

JAN’s POV of the Mercedes approaching JOSEF and the turning.

JOSEF steps into the road. The Mercedes is now only several

yards away as it approaches him.

JOSEF throws off the coat covering the Sten gun, raises it

and aims at HEYDRICH who is sitting in the open front

passenger seat.

HEYDRICH’s POV. JOSEF looming ahead, Sten gun in hand.

JOSEF has the target in point blank range. A sure thing.

Time slows down.

JOSEF pulls the trigger.

“CLICK”.

It is a single hollow sound that comes from the Sten gun.

IT HAS JAMMED!

JOSEF pulls the trigger again...

“CLICK”.

IN SLOW MOTION and IN CLOSE UP JOSEF re-cocks the firing pin -

A piece of STRAW is seen caught within the breach.

“CLICK”.

KLEIN:

(Heydrich’s driver)

Scheisse!

HEYDRICH sees this and immediately grabs his pistol.

ANTHROPOID V20:
70

HEYDRICH:

Halten das auto!

HEYDRICH stands up with his pistol and aims at JOSEF.

JAN’s POV of HEYDRICH standing aiming his pistol at the

frozen JOSEF.

JOSEF pulls at the trigger again - “CLICK”.

JAN:

(screams)

RUN!

JAN steps forward and throws a grenade at the Mercedes.

JOSEF throws down the Sten and stares down the barrel of

HEYDRICH’s gun.

BOOOOM!

JAN’s grenade explodes at the rear of the vehicle.

The blast throws up a shower of fragments from the car some

of which hit JAN in the face.

From inside a nearby tram, the blast from the bomb shatters

all the windows showering the passengers with glass. There

are shouts and screams from the dazed and frightened

passengers.

An angle from within the tram. We see the driver KLEIN firing

his pistol at JAN.

JAN’s escape is blocked by a now crowded road. Blood pours

from a cut above his eye. He fires shots into the air to

clear a path through. He mounts his bicycle and pedals off

furiously.

Behind him VALCIK has pulled a pistol and fires two shots at

KLEIN.

KLEIN ducks and returns four shots.

One hits VALCIK in the thigh and he goes down.

KLEIN then turns and sees:

JAN getting away on the bicycle.

KLEIN steps forward and fires two shots.

But JAN is covered by the crowd and two of them get caught in

the cross fire.

A clear path opens up for KLEIN and a good shot at JAN is

lost as JAN disappears round the corner of a building.

HEYDRICH is now out of the car and is holding his pistol, but

he is in great pain. He has been hit somewhere.

ANTHROPOID V20:
71

HEYDRICH staggers towards JOSEF and fires several shots at

him. The shots are returned by JOSEF from behind a telegraph

pole.

HEYDRICH then collapses as KLEIN appears beside him.

JOSEF fires two quick rounds but they miss KLEIN and

HEYDRICH.

KLEIN runs at JOSEF firing his pistol.

JOSEF runs up the hill with KLEIN in pursuit. KLEIN goes to

fire at JOSEF but his gun is empty.

JOSEF fires a couple of shots back at KLEIN but fails to hit

him.

VALCIK is back up and attempting to run from the scene with a

bad limp.

HEYDRICH is slumped against the side of the car. Pale.

Laboured breathing. The CAMERA TRACKS OFF him and TRACKS into

the passenger seat. A hole has been blown through the seat

and its horse hair stuffing is exposed. Blood slowly drips

from the horse hair. Drip, drip, drip...

Reaching the bottom of the hill JOSEF sees a butcher’s shop

and hopes he can find refuge there. He runs towards it.

77 INT. BUTCHER’S SHOP - MORNING 77

A small shop with the BUTCHER cutting meat on a block. JOSEF

rushes in and the BUTCHER is immediately alarmed by his

presence and attempts to throw him out.

JOSEF points his Colt semi-automatic at him and the BUTCHER

runs out into the street.

JOSEF goes through to the back of the shop and finds that

there is no rear entrance. He returns to the front of the

shop and looks out.

POV through the shop window - JOSEF sees the BUTCHER talking

to KLEIN and gesticulating towards his shop.

Time is running out for JOSEF. He must act soon. He runs from

the shop gun aimed.

He has caught KLEIN unawares.

KLEIN raises his gun and fires but JOSEF is quicker and

shoots at him twice, hitting him in the leg and hip as KLEIN

drops to the ground.

JOSEF runs out down the street and into an alley.

ANTHROPOID V20:
72

78 EXT. PRAGUE STREET - MORNING 78

JOSEF emerges from the alley and runs for a moving tram. He

catches up and jumps on board.

79 INT. TRAM - MORNING 79

JOSEF is out of breath. He moves up the tram and takes a

seat. He throws a few nervous glances around the tram but

nobody seems to be paying him any attention.

The tram gains distance from the chaotic scene behind.

80 EXT. PRAGUE STREET, TOWN SQUARE - MORNING 80

The tram comes to a stop and JOSEF steps off.

He looks around trying to get his bearings and sets off in a

northerly direction.

81 EXT. MORAVEC BUILDING - MORNING. 81

As JOSEF approaches the building he sees CURDA waiting

outside. He seems greatly agitated.

JOSEF:

Where were you Curda?

CURDA:

I didn’t think you were really

going to do it.

JOSEF grabs him by the collar, looks like he is going to

smash his face in.

CURDA:

It’s all over the radio.

(beat)

You shot him?!

JOSEF clenches his jaw in anger and then releases him.

CURDA:

The radio said that 20,000 SS

troops have been drafted in to look

for us.

(Beat)

I have to get my family out of

Prague.

JOSEF:

No one is going anywhere. You try

and flee now they will pick you up

before you get to the city limits.

Go back to your family, batten down

the hatches and stay calm. Stay out

of sight and keep your mouth shut.

Think you can do that?

ANTHROPOID V20:
73

(MORE)

(off Curda’s nod)

Now get out of my sight.

82 INT. MORAVEC FLAT, MAIN ROOM - DAY 82

JOSEF enters.

JAN is already there. He is sitting on a bench as MRS MORAVEC

treats his wounds with iodine. JAN is weakened and greatly

agitated. Did they or did they not succeed?

A heavy silence hangs in the air between them.

JOSEF slowly shakes his head in utter disbelief of the events

that have just happened.

JOSEF loses it and swipes some tins of food off a shelf.

JOSEF:

KURVA!

JAN:

He was definitely wounded.

JOSEF:

KURVA! The Sten gun! That bloody

Sten gun!

(beat)

I had him!

JOSEF points an invisible Sten gun into space. His

imagination reliving the moment.

JOSEF:

(softly imagining)

I bloody had him...

(then angry)

HE WAS RIGHT THERE!

MRS MORAVEC finishes attending to JAN’s face and stands,

putting away her things.

Silence hangs heavy in the room.

83 INT. MORAVEC FLAT, BOX ROOM - DAY 83

KNOCK! KNOCK! KNOCK!

JAN and JOSEF sit bolt upright and grab their guns.

Then a single KNOCK!

JAN opens the door a crack, pistol aimed.

JAN’s POV:
we see UNCLE HAJASKY.

ANTHROPOID V20:
74

JOSEF (CONT'D)

84 INT. MORAVEC FLAT, BOX ROOM - DAY. 84

The three men and MRS MORAVEC sit around talking in hushed

tones.

UNCLE HAJSKY:

What went wrong out there?

JOSEF stares into space, dejected.

SIRENS are heard outside. JAN looks out the window from

behind the curtains.

JAN’S POV:
a street scene with German soldiers marching,

several German vehicles, sirens screeching.

JAN turns from the window.

JAN:

Looks like the whole of Prague is

crawling with Germans.

UNCLE HAJSKY:

It was to be expected.

JAN:

We didn’t even kill him!

UNCLE HAJSKY:

Wounded.

JAN:

How bad?

UNCLE HAJSKY:

(shrugs)

It is hard to say. The SS still

have the hospital surrounded so,

presumably, he’s still alive. The

Germans have more men and guns up

there than they have on the Eastern

front.

UNCLE HAJSKY goes to the radio and switches it on. German is

heard, followed by the Czech translation.

RADIO ANNOUNCER (V.O.)

Karl Frank has temporarily taken

Heydrich’s place and has proclaimed

a state of emergency and a curfew.

(beat)

A reward of ten million crowns will

be given to any information that

leads to the arrest of the

criminals.

(beat)

Anyone caught aiding the criminals

will be shot with his entire

family.

UNCLE HAJSKY switches it off.

ANTHROPOID V20:
75

UNCLE HAJSKY:

All radio stations are transmitting

the same message continually.

JAN gives MRS. MORAVEC a concerned look.

UNCLE HAJSKY:

Nothing is leaving or entering

Prague.

(beat)

The bicycle you used has been

found. It has blood upon it. Also

your briefcases. The Germans have

put these in the window of the big

Bata shop in the city centre to see

if anyone recognises them.

(beat)

They’ve also taken several thousand

hostages and are shooting people in

the street.

(beat)

All home owners must declare to the

police all persons staying with

them who have not already been

reported.

(beat)

Failure to do so will be punishable

by death.

(beat)

What this means to you is that you

can no longer remain here. There

are no safe houses left any more.

MRS MORAVEC and UNCLE HAJSKY share a look.

JAN:

Where do we go?

MRS MORAVEC:

I’ve asked Father Vladimir Petrek,

he is the dean of the Orthodox

Church.

JAN:

Where is he going to hide us? In

heaven?

MRS MORAVEC:

The cathedral of Saints Cyril and

Methodius.

UNCLE HAJSKY:

He has agreed to hide all the

parachutists until we can return

you to London.

JOSEF gives JAN a look.

MRS MORAVEC:

I’ll pack you some warm clothes and

blankets.

ANTHROPOID V20:
76

JAN and JOSEF nod and the men shake hands.

UNCLE HAJSKY:

Rest here tonight. I will be back

to pick you up first thing in the

morning.

UNCLE HAJSKY leaves.

85 INT. MORAVEC FLAT, BOX ROOM - MORNING 85

JOSEF wakes to the sound of HYSTERICAL CRYING coming from the

room next door.

He wakes JAN and places a finger to his mouth as a signal.

They grab their pistols and flank the door.

86 INT. MORAVEC FLAT, MAIN ROOM - MORNING 86

JAN and JOSEF enter the main room and see MRS MORAVEC

consoling MARIE.

MARIE looks up and sees JAN. Goes to him. Slumps into his

arms.

JAN:

What is it?

MRS MORAVEC looks from JAN to JOSEF. Sadness in her eyes.

MRS MORAVEC:

It’s Lenka.

87 EXT. PRAGUE STREET - DAY (FLASHBACK) 87

NO SOUND - MARIE exits the tram and sees LENKA down the

street.

CLOSE UP - LENKA smiles at MARIE and waves.

To the side, German soldiers pour out of two trucks and start

to round people up.

The expressions on MARIE’s and LENKA’s face instantly change.

LENKA is cut off from MARIE. LENKA looks around. She turns on

her heels and starts to walk fast to try and get away from

the madness.

88 OMITTED 88

ANTHROPOID V20:
77

89 INT. MORAVEC FLAT, MAIN ROOM - MORNING 89

MRS MORAVEC:

The Germans were rounding up random

hostages off the street.

90 EXT. PRAGUE STREET - DAY (FLASHBACK) 90

LENKA’s walk suddenly turns into a run. The CAMERA just in

front of her and keeping up with her. The sound of her

breath. In the background we can hear a German screaming

HALT! An intense sound building until:

91 OMITTED 91

87B EXT. PRAGUE STREET - DAY (FLASHBACK) 87B

Loud machine gun fire makes MARIE jump and she covers her

mouth with her hand.

CUT BACK TO:

92 INT. MORAVEC FLAT, MAIN ROOM - MORNING 92

MRS MORAVEC:

She was shot trying to escape.

JOSEF closes his eyes.

For a second we see LENKA’s hair gently blowing in the wind

in slow motion.

LENKA’s dead hand hanging limp. Blood dripping from the

finger tips.

Back with JOSEF. Anger on his face. He looks at MARIE.

MARIE’s face puffy from crying. Her eyes scared.

He strides off to their room. JAN follows.

93 INT. MORAVEC FLAT, BOX ROOM 93

JOSEF collecting his weapons. Loading them. Cocking them.

JAN enters the room and sees what he is doing.

JAN:

Josef!

(beat)

Josef! Stop!

JOSEF makes to leave and JAN blocks his path.

JOSEF:

Out of my way.

ANTHROPOID V20:
78

JOSEF tries to push past but JAN grabs him. The two of them

suddenly in a fight. Fists are thrown and blocked. They

grapple until a stale mate is found, both men breathing hard.

JAN:

Josef, listen to me.

(beat)

What if they take you alive?

(beat)

You are risking everyone that has

helped us and for what? To shoot a

few soldiers?

(Josef struggles against

Jan’s grip)

STOP! SHE’S GONE!

JOSEF:

It’s all my fault.

(beat)

I tried to kill Heydrich

(beat)

But I killed her!

JAN:

It’s not your fault.

JOSEF breaks down and starts to cry. JAN holds him.

JAN:

(softly)

I’m sorry...

JOSEF sobs into JAN’s shoulder.

94 INT. MORAVEC FLAT, MAIN ROOM - LATER 94

A clock ticks. MRS MORAVEC, ATA, MARIE, JAN and JOSEF sit and

stand in the room in silence - waiting. Three knocks then one

knock at the front door.

ATA goes and lets in UNCLE HAJSKY.

UNCLE HAJSKY:

It’s time...

MARIE hugs JAN. She doesn’t want to let go.

JOSEF stands in front of MRS MORAVEC. Both their eyes red.

His emotions break through for a second as he moves forward

and hugs her. A tear runs down her face.

Last looks and JAN and JOSEF leave with UNCLE HAJSKY.

95 EXT. PRAGUE STREETS - AFTERNOON 95

A flurry of action as German army trucks unload soldiers.

People are stopped on the streets. Distant gun shots are

heard.

ANTHROPOID V20:
79

Several streets. Various angles as JOSEF and JAN follow UNCLE

HAJSKY at a discreet distance from one another. They follow

him towards their new hiding place.

German soldiers are greatly in evidence. Loud speakers echo

instructions regarding the curfew now in place.

96 EXT. RESSLOVA STREET - AFTERNOON 96

UNCLE HAJSKY stops and waits for JOSEF and JAN to catch up

with him.

UNCLE HAJSKY:

This is the cathedral of Saints

Cyril and Methodius. Go through

that entrance. Father Petrek will

greet you.

(beat)

Ata will be bringing you food.

(beat)

Ladislav is working with London on

your exit plan.

(beat)

I know this maybe is not what you

want to hear at present but...

(beat)

I regret nothing. You are two of

the bravest men I have ever met.

A pause between the men and then UNCLE HAJSKY leaves.

JOSEF and JAN watch him leave and then turn towards the

cathedral.

[NOTE:
Hereafter the Cathedral of Saints Cyril and Methodius

is referred to as just the CATHEDRAL.]

97 INT. CATHEDRAL, NAVE - AFTERNOON 97

The magnificent main part of the cathedral with the altar at

the end. A balcony high above runs around the nave.

JOSEF and JAN enter the cathedral and stand in admiration

looking at the fittings and decorations. They both cross

themselves. The silence weighs heavily upon them.

Footsteps are heard. FATHER (Vladimir) PETREK approaches. He

is a tall angular man with deep set eyes, a moustache and

goatee beard. He is in his early fifties. He has a gentle but

direct manner.

FATHER PETREK:

I am Father Petrek. Welcome.

(beat)

Please follow me.

FATHER PETREK leads them to the side of the entrance where he

raises a carpet to reveal a two feet square flagstone with a

metal ring in the centre. JAN pulls up the flagstone ‘door’.

It reveals a ladder.

ANTHROPOID V20:
80

FATHER PETREK:

This is our ‘hidden’ crypt. You

will be safe there.

He ushers them down.

FATHER PETREK:

I have to go now.

JAN:

Thank you, Father.

JOSEF:

Yes, thank you, Father.

FATHER PETREK:

Until later.

98 INT. CATHEDRAL, CRYPT - AFTERNOON 98

JOSEF and JAN descend the steps into the crypt.

The crypt measures some fifty by twelve feet and is around

ten feet high. It is made of stone. There are square-shaped

niches in the wall where coffins were once placed. At some

time in the past the coffins have been removed and the niches

became ossuaries.

At the bottom VALCIK limps over with OPALKA to greet them.

VALCIK:

You made it!

JOSEF:

What happened to your leg?

VALCIK:

Was caught in the crossfire. Just a

scratch.

There is a solemn air to their reunion.

OPALKA:

I’m sorry it wasn’t the outcome we

all hoped for.

JOSEF:

None more than us...

Then three other members of the resistance, SVARC, BUBLIK,

and HRUBY appear. Introductions and greetings are exchanged.

OPALKA:

(to Josef and Jan)

This is Svarc, Bublik and Hruby.

They are from the airdrops this

spring.

(beat)

Boredom may be the biggest enemy we

have here.

ANTHROPOID V20:
81

(MORE)

I’m suggesting three men on guard

duty in the nave balcony at all

times.

(beat)

We rotate every six hours.

All of the men nod their heads.

OPALKA:

Bublik, Svarc, come with me. We’ll

take first watch.

JOSEF and JAN begin clearing their living spaces in the wall

niches.

JAN continues clearing out the bones. He stops for a moment

and looks up. High on the wall is a rectangular opening on to

the street, measuring about five foot by one, the only

ventilation for the crypt.

We hear the sound of a loud speaker echoing a looped message

in both Czech(English) and German.

99 EXT. PRAGUE STREETS - DAY 99

The Germans put up reward signs and appeals for information

all over Prague. Leaflets are given out in the street. The

appeals are in shop windows. People are interrogated in the

street, beaten, marched off, arrested.

The bicycle, coat and brief case that was used in the

assassination attempt are displayed in the Bata shop window.

There is a sign in the window. It reads:

Reward of 10,000,000 Crowns

1. Who can provide information on the Criminals?

2. Who saw them at the scene of the crime?

3. To whom do these objects belong?

Whoever is able to provide this information and who fails to

do so voluntarily will be shot with his family.

Furthermore, from May 28, 1942, all owners of houses,

apartments, hotels, etc, in the Protektorate must declare to

the police all persons staying with them who have not already

been reported. Failure to do so will be punishable by death.

ss-Obergruppenfuhrer

Chief of Police

K. H. Frank.

ANTHROPOID V20:
82

OPALKA (CONT'D)

It’s no small amount. The crowd outside the shop window

hustle to see the items used in the attack.

Amongst them we catch sight of a man looking at the items.

People cross the frame and obscure him but the CAMERA is

tracking in and he starts to fill the frame. The line of

sight is now clear of people and we clearly see who it is.

It’s CURDA.

INT. CATHEDRAL - DAY.

ATA enters the Cathedral carrying a basket and crosses

himself at the alter. He then goes to the confession box and

enters.

The central partition opens and we see JAN.

ATA:

(indicating the basket)

I brought you food.

JAN:

Thanks Ata. The empty basket is

under the bench in there.

(beat)

Have you seen Marie?

ATA shakes his head no.

JAN:

Can you get a message to her? I

need to see her.

ATA nods. He leaves with the empty basket the same way he

entered.

100 INT. CATHEDRAL, CRYPT - MORNING 100

JAN is standing upon a small wooden ladder and peering out of

the rectangular opening high up on the wall.

JAN’s POV:
A crowded busy street. Many Germans in evidence.

101 INT. CATHEDRAL, CARETAKER’S OFFICE - DAY 101

On guard duty, OPALKA wanders into the caretaker’s office. He

takes a look around.

A filing cabinet. OPALKA opens the top drawer and takes a

look. In the second drawer he takes a file. Inside are the

plans of the church. He holds them up to the light and starts

to study them.

102 INT. CATHEDRAL, CRYPT - DAY 102

OPALKA and HRUBY stride up to the end of the crypt. JAN and

JOSEF are on lookout.

ANTHROPOID V20:
83

OPALKA:

(pointing)

Beyond this brickwork and masonry

there is a large main sewer that

empties into the river.

JOSEF:

How do you know?

OPALKA:

I found some plans in the

caretaker’s office.

(beat)

If we can chisel through this

masonry and get to the sewer we

have a means of escape if we need

it.

JAN:

Escape to where?

OPALKA:

Until the British send plans for

our rescue we are stuck here.

(beat)

Should we be discovered here then

there is no way out. I would like

us to have this option.

(beat)

We would then take our chances on

the streets.

JAN, JOSEF and the others nod. It’s a good plan.

OPALKA:

Two of us will be working here at

all times.

103 INT. CATHEDRAL, NAVE - DAY 103

JOSEF, JAN and OPALKA are on the balcony. They are all behind

columns but with a clear view down the entire length of the

cathedral.

There are footsteps across the church floor. They look and

see it’s FATHER PETREK. He takes the stairs up to the

balcony.

They greet an out of breath FATHER PETREK at the top.

FATHER PETREK:

I have news.

A long pause as the men await the news.

FATHER PETREK:

Heydrich died yesterday in the

hospital.

JAN:

You sure of this?

ANTHROPOID V20:
84

FATHER PETREK:

Yes. The Germans have announced

this. Preparations are under way

for a state funeral. The body is to

be sent back to Berlin.

Another pause.

FATHER PETREK:

Finding those responsible for this

act may be occupying the Reich more

than winning the war at the present

time.

JAN and JOSEF look at one another. A brief moment passes

between them. They got Heydrich, eventually.

110 INT. TRAIN BOX CAR - NIGHT. 110

The coffin of Heydrich is being transported to Berlin. The

coffin draped in a black SS flag. Flames from lit torches in

each corner. Two SS guards stand on watch. Eerie, like a

spell being cast by the forces of the dark arts. [NOTE: This

will be a recreation of the actual footage.] The sound of the

train on the tracks turns into chisels against masonry.

SOUND OVERLAP of chisels against masonry . . .

HARD CUT TO:

129 INT. CATHEDRAL, CRYPT - MORNING 129

In the crypt. JAN and JOSEF hammer away at the masonry like

men possessed. Then VALCIK and BUBLIK take over. It’s like a

relay race.

Sweat pouring from JAN’s face as he looks over to JOSEF with

heavy breaths. They share a look and then JAN looks up at the

morning light streaming through the street level slit.

They swap over again.

OPALKA calls down from the small hole in the ceiling,

OPALKA:

Jan! Someone to see you...

129B INT. CATHEDRAL - DAY. 129B

JAN climbs out of the crypt to see MARIE.

A moment then MARIE rushes forward and embraces JAN. They

hold each other for a moment. They pull away and MARIE has

tears of joy. They joy fades and she looks terrified.

MARIE:

How long will you stay here?

ANTHROPOID V20:
85

JAN:

There is talk of getting us back to

London.

(beat)

When this is all over, I will come

back for you.

MARIE:

Back for us both.

She places JAN’s hand onto her belly. JAN computes, suddenly

overjoyed.

JAN:

Really?

MARIE nods. A moment of joy that MARIE is still frightened to

let surface.

MARIE:

I’m so scared. Everyone is scared.

(beat)

Yesterday the Germans went to a

village to the north-west of Prague

called Lidice and shot every man

over the age of sixteen. The women

and children have been taken to

camps and the buildings were razed

to the ground.

JAN:

But why Lidice? It makes no sense.

MARIE:

There has been talk that the

village aided you somehow.

(beat)

What kind of World is it to bring a

child into?

JAN:

It will not always be like this.

(beat)

One day, it will be different, like

how it once was...

(beat)

This I’m sure of.

JAN searches her eyes and scoops her up in his arms once

again. Two lone figures in the empty church. The sound of

Hammering continues from the crypt.

104 INT. CATHEDRAL, BALCONY - DAY 104

A meeting. The seven men plus FATHER PETREK.

JOSEF and JAN are gravely shocked. Tears appear in their

eyes.

ANTHROPOID V20:
86

JAN:

(sadness)

We have never even been to Lidice.

FATHER PETREK:

These are dangerous times. Mere

gossip wipes a whole village from

the face of the earth.

(beat)

Today Karl Frank issued an amnesty

broadcast. A full pardon for any

person and their family in exchange

for any information known about the

assassins. Even if they did not

come forward before. But there is a

deadline of five days, after that,

they plan to execute 30,000 Czechs.

JAN:

This must stop!

OPALKA:

And what do you propose?

JAN thinks for a minute and anger flits across his face.

JAN:

Josef and I will go to a park...

Place placards around our necks

saying we killed Heydrich...

(beat)

...and commit suicide.

There is a physical reaction from the men to this suggestion

and OPALKA steps forward.

OPALKA:

This is stupid talk. Stupid talk!

As soldiers it is your duty to stay

alive and continue fighting. Do you

understand that? I will not hear

such stupid talk again.

JOSEF and JAN are chastened.

FATHER PETREK:

The responsibility does not rest

with you. We know who is

responsible. They will have to

answer...eventually. And they will.

(beat)

If I didn’t believe that I would

not be here now.

104 INT. CATHEDRAL, BALCONY - DAY. 104

JOSEF and VALCIK sit up in the balcony on guard duty.

JOSEF takes the photo of LENKA from his wallet and looks at

it. Deep from within the crypt the faint sounds of stone

being chiselled by a hammer.

ANTHROPOID V20:
87

JOSEF wipes the photo clean with his thumb when the sound of

a truck suddenly makes him look out onto the street.

A German army truck pulls up and several soldiers jump out.

105 INT. CATHEDRAL, CRYPT - DAY 105

In the crypt, OPALKA and BUBLIK hammer away at the masonry,

Thousands of hammer and chisel blows scarcely make an

impression on the hard masonry.

JAN is up a ladder. He peers out of the slit that leads to

the street.

JAN’s POV:
German truck and several soldiers walking towards

the church.

JAN signals to OPALKA and BUBLIK to stop work.

JAN looks back to the street. The German soldiers make their

way into the church.

106 INT. CATHEDRAL, NAVE - DAY 106

JOSEF and VALCIK look down and see the German soldiers enter

the church.

107 INT. CATHEDRAL, CRYPT - DAY 107

The rest of the men, guns at the ready, stare upwards as the

sounds of the German boots echo out across the church floor

above them.

108 INT. CATHEDRAL, NAVE - DAY 108

POV:
the German soldiers carrying out a cursory search of the

church. They shrug and leave the way they came in.

109 INT. CATHEDRAL, CRYPT - DAY 109

JAN’s POV through the slit as the German soldiers climb back

in the truck. A few more soldiers who had been searching

across the street return as well. All board the truck that

starts up and drives off.

The men all look at each other and sigh a big sigh of relief.

113 OMITTED 113

113B INT. GESTAPO HEADQUARTERS - NIGHT 113B

EXTREME CLOSE UP of a mans face. He is HANS MüLLER. A German

who speaks Czech. He wears glasses and a piece of paper is

reflected in them.

ANTHROPOID V20:
88

NOTE:
THE CAMERA NEVER LEAVES HIS FACE.

MULLER:

You say you know the men who

assassinated Reichsprotektor

Reinhard Heydrich but you did not

take part in it.

He looks up and OFF SCREEN to give a signal and looks back

down the report. As he continues to read we hear footsteps

and then someone being punched to the floor, a chair crashes

to the floor and we hear the person being kicked.

MULLER:

You say you don’t know where they

are but you know the family who

sheltered them.

The sound of the man being lifted back on the chair coughing

and spluttering.

Same as before, he looks up and OFF SCREEN to give a signal

and looks back down the report. As he continues to read we

hear footsteps and then someone being punched to the floor,

a chair crashes to the floor and we hear the person being

kicked.

MULLER:

You say don’t know where they are

but you know the family who

sheltered them.

The sound of the man being lifted back on the chair.

MULLER:

(Looking at the person)

You walked in here on your own

accord to give us this statement.

(reading from the report)

You say you are a true patriot and

the reason for doing that is

because you want to protect your

family and for the killing of

innocent Czechs to stop.

We finally cut to the reverse and we see a man sitting

opposite the desk with his head bowed. He slowly starts to

raise his head as the CAMERA PUSHES IN.

MULLER:

And you say your name is Karel

Curda.

CURDA looks up, his face beaten and swollen. He nods.

114 INT. MORAVEC FLAT, HALLWAY - EARLY MORNING 114

Early morning. Silence in the apartment aside from the

plaintiff sound of ATA’s violin.

ANTHROPOID V20:
89

115 INT. MORAVEC FLAT, HALLWAY - EARLY MORNING 115

MS of the front door to the apartment. Silence aside from

ATA’s violin.

116 INT. DOWNSTAIRS ENTRANCE - EARLY MORNING 116

Six Gestapo officers stand in silence around the entrance to

the Moravec apartment building. Four bear machine guns, the

other two pistols.

An officer with a pistol nods to the four with the machine

guns. They are to ascend the stairs now. They carry out the

order in silence.

117 INT. MORAVEC FLAT, ATA’S ROOM - EARLY MORNING 117

ATA practices on his violin in his pyjamas.

118 INT. STAIRWAY - EARLY MORNING 118

The Gestapo officers ascend the stairway in silence. A dog

appears and starts sniffing around them. They pause. Then the

dog scurries off. They continue their ascent.

119 INT. MORAVEC FLAT, HALLWAY - EARLY MORNING 119

A closer shot of the front door.

120 INT. MORAVEC FLAT, ATA’S ROOM - EARLY MORNING 120

ATA pauses and studies the music score on his practice stand.

121 INT. FLAT LANDING - EARLY MORNING 121

The Gestapo officers are now arrayed around the front door of

the Moravec apartment. They wait in silence.

A plain clothes senior Gestapo officer, FLEISCHER, 30s, very

thin and lugubrious looking tries the door. It is locked. He

steps back and nods to an officer with a machine gun.

The officer steps forward and takes aim at the hinges.

122 INT. MORAVEC FLAT, HALLWAY - EARLY MORNING 122

MS of the front door. ATA has resumed his violin practice.

Two loud bursts from the machine gun shatter the silence. The

door hinges are destroyed and the door partially splinters.

The door is then kicked in. The armed officers rush into the

apartment shouting and bellowing. They spray out into

different rooms.

ANTHROPOID V20:
90

123 INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING 123

MRS MORAVEC comes into the lounge from the kitchen and two

officers immediately grab her.

124 INT. MORAVEC FLAT, ATA’S ROOM - EARLY MORNING 124

ATA is going towards the door of his room when it bursts open

and two of the officers rush in and grab him violently, his

violin falls to the floor and is trampled upon as they drag

him out.

125 INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING 125

ATA is pushed next to MRS MORAVEC in the middle of the

lounge. MR MORAVEC is also bundled in.

MR MORAVEC stops for a second in front of his wife. An

accusing stare on his face.

MRS MORAVEC meets his gaze but can’t hold it for long. With

tears in her eyes she looks away.

MR MORAVEC is pushed and they are lined up facing the wall

with their hands in the air.

A man in his late forties is brought in from outside. He

removes his hat as a sign of respect. His name is Josef

CHALUPSKY and he is a Czech interpreter who speaks German.

MRS MORAVEC is grabbed from the wall and turned to face

FLEISCHER and CHALUPSKY.

FLEISCHER:

(loudly, menacingly)

Wo sind die fallschirmspringer?

CHULUPSKY:

Where are the parachutists?

MRS MORAVEC:

I know nothing. You must be

confusing us with other Morav...

FLEISCHER cuts her off in mid-sentence as he punches MRS

MORAVEC square in the face with a sickeningly accurate blow.

MRS MORAVEC hits the floor hard. ATA screams but is retrained

and gagged with his own belt.

FLEISCHER:

(to the other officers)

Stehen sie auf.

MRS MORAVEC is pulled up by two officers.

MRS MORAVEC’s nose is broken. Rivulets of dark blood pour

down and off her chin.

ANTHROPOID V20:
91

The moaning sound that comes from her is almost animalistic.

This is a woman who knows there is no way out of the

situation.

FLEISCHER:

Wo sind die fallschirmspringer?

CHULUPSKY:

Where are the parachutists?

MRS MORAVEC:

(holding her mouth, blood

flowing)

I know . . . nothing.

FLEISCHER punches MRS MORAVEC in the face again. She falls to

the ground with a gurgling moan.

CHULUPSKY is physically upset by what he is witnessing.

FLEISCHER points at the officers to get MRS MORAVEC back up

on her feet.

ATA struggles against the men that hold him. Tears stream.

His mouth open but his vocal chords are paralyzed.

Two officers help MRS MORAVEC up again.

MRS MORAVEC stands facing FLEISCHER but seems to be looking

right through him.

O.S The trickling sound of water hitting a wood floor.

FLEISCHER looks down.

MRS MORAVEC is relieving her bladder. A dark patch has spread

in the front of her dress and splashes on the wooden floor

between her legs.

FLEISCHER stares at her in disgust.

FLEISCHER:

Ekelhaft!

(beat)

Uberall suchen!

The officers start to tear the place apart, searching

everywhere.

FLEISCHER goes next door.

MRS MORAVEC:

(to Chulupsky)

Please, let me clean myself up

before we leave.

(beat)

I do not want to make a mess in the

car.

CHULUPSKY nods assent.

ANTHROPOID V20:
92

CHULUPSKY:

Go on, Madame.

MRS MORAVEC:

(to Chulupsky, indicating

Ata)

My son is a violinist. Tell them he

knows nothing of this...

CHULUPSKY frowns. MRS MORAVEC hobbles to the lavatory.

126 INT. MORAVEC FLAT, LAVATORY - EARLY MORNING 126

A narrow high-ceilinged room with a WC and above it a cistern

with a chain. A small window. Two colourful railway company

posters advertising pre-war holiday destinations have been

put on the walls to brighten the room up.

MRS MORAVEC hurriedly enters and throws the lock on the door.

She reaches into the front pockets of her pinafore and pulls

out a small wooden carving of a German SS officer and a glass

capsule of cyanide.

In CLOSE UP we see her look up to the heavens, tears in her

eyes. She holds her hands together and says a very brief

prayer and then crosses her chest.

127 INT. MORAVEC FLAT, MAIN ROOM - EARLY MORNING 127

FLEISCHER reenters the room and sees MRS MORAVEC is missing.

FLEISCHER:

Wo ist die Frau?

CHULUPSKY:

(pointing)

In der toilette.

FLEISCHER:

Scheiße!

128 INT. MORAVEC FLAT, HALLWAY - EARLY MORNING 128

FLEISCHER kicks the lavatory door in.

The door falls back and MRS MORAVEC is standing there looking

straight at FLEISCHER with a strange smile on her face. She

then collapses.

FLEISCHER rushes to her and slaps her face.

FLEISCHER:

Wasser!

He checks her breathing but she looks dead. They try to

resuscitate her. She is dead.

ANTHROPOID V20:
93

Just out of reach from her dead limp hand we see a CLOSE UP

of the wooden carved SS officer laying on its side.

130 INT. GESTAPO INTERROGATION CELL - MORNING 130

A windowless cell. A single naked light bulb hangs from the

centre of the ceiling. Flaking dark green paint on the walls.

ATA sits behind a large metal table. A guard stands either

side of him. ATA is exhausted and badly hurt. He has been

heavily beaten.

FLEISCHER sits to one side. The TORTURER takes a number of

photographs from a folder, portraits of suspected resistance

fighters, and places them in two rows on the table in front

of ATA, and then with a flourish of his hand ‘invites’ ATA to

study them.

TORTURER:

(German accent throughout)

You recognize any of these men?

ATA shakes his head no.

The TORTURER starts to beat ATA again. He then stops and

grabs a picture of VALCIK, thrusts it in ATA’s face.

TORTURER:

(breathing heavily)

Recognize him?

ATA looks at the photo and says nothing.

131 INT. CATHEDRAL, NAVE - MORNING 131

JOSEF and BUBLIK are on guard duty in the nave’s balcony.

JOSEF is awake but the boredom has him in his own world day

dreaming. He is awoken from this by the sound of whispering

voices. The hushed voices are coming from within the church.

JOSEF looks through the balustrades of the balcony to the

church below.

JOSEF’s POV:
the church seems empty but the voices continue.

OPALKA suddenly exits the confession box. He says something

inaudible as a parting shot, and then walks towards the

crypt. Behind him FATHER PETREK exits the other side of the

confession box and walks towards the altar.

132 INT. CATHEDRAL, CRYPT - MORNING 132

JOSEF descends the stairs to see OPALKA in deep conversation

with JAN, VALCIK, and HRUBY. OPALKA turns to see JOSEF.

JOSEF:

What did I miss?

ANTHROPOID V20:
94

OPALKA:

Bishop Gorazd has told Father

Petrek that our presence here is

endangering the church and he wants

us to leave.

(beat)

Father Petrek relayed this to Uncle

and they have a plan to get us all

out.

JOSEF:

When?

132B EXT. FUNERAL CHAPEL - DAY. 132B

Rain pours down on a black car as it pulls up outside.

INT. BLACK CAR - SAME.

LADISLAV and UNCLE HAJSKY sit in the car. There is some

tension between them.

LADISLAV:

I know things have been, strained

between us. I was against the

assassination and that may have led

to some doubt about my position

within the resistance organization.

UNCLE HAJSKY looks at LADISLAV.

LADISLAV:

As bad as the reprisals have been,

I was wrong, it was right to do it.

UNCLE HAJSKY regards LADISLAV.

LADISLAV:

Lets just get the parachutists out

of Prague.

UNCLE HAJSKY:

(nods)

Meet me round the back in ten

minutes.

UNCLE HAJSKY exits the car.

132C INT. FUNERAL CHAPEL - DAY 132C

A service is being held. Small and discrete. At the back of

the chapel UNCLE HAJSKY enters and slots into the pews.

He makes eye contact with the UNDERTAKER to the side of the

coffin. He is a tall serious man in his fifties dressed in a

black morning suit. A knowing look is passed between them.

ANTHROPOID V20:
95

111 INT. UNDERTAKER’S GARAGE - DAY 111

At the back of the chapel there is place where the coffins

are loaded onto the cars. Several funeral wreaths lean

against the walls. Rain is pouring down. In the background

funeral organ music is heard.

We see two coffins in the back of a black hearse. Looking

down at it is the UNDERTAKER, beside him is LADISLAV and

UNCLE HAJSKY.

The UNDERTAKER raises the bottom of one of the coffins to

reveal a further space underneath

UNDERTAKER:

Two in the coffins. Two under the

dummy floors and the other three

disguised as pall bearers.

(beat)

That’s the seven.

(beat)

The service can be at the Cathedral

of Saints Cyril and Methodius and

then the burial at Saint Josef and

Mary’s church which is outside of

Prague.

(beat)

You then make arrangements to

collect them from there.

LADISLAV looks at UNCLE HAJSKY. They nod in agreement with

the UNDERTAKER.

UNCLE HAJSKY:

How soon can you be ready?

133 INT. GESTAPO HEADQUARTERS - NIGHT 133

Several shots of long featureless corridors. Silence. Then

the distorted sounds of ATA screaming under torture. His

screams become distorted and echo down the corridors.

134 INT. GESTAPO INTERROGATION CELL - NIGHT 134

Now a MS of ATA in his cell dressed in his Sunday best

playing a part of Bartok’s ‘Violin Concerto No. 2’. He is

immersed in an angelic light.

There is a passage in the concerto ATA cannot get right. He

keeps hitting the wrong note, a jarring almost discordant

wrong note that becomes louder and more frequent until it

turns into a never ending scream.

ATA looks across the cell and sees himself strapped to a

heavy wooden chair. The screaming coming from his open mouth.

His face is bloody from the beatings and one eye is swollen

shut, the other bloodshot and streaming.

ANTHROPOID V20:
96

The TORTURER punches him and two men then force brandy down

his throat using a funnel and rubber tube.

TORTURER:

You like to play the violin?

The torture smashes ATA’s left hand three or four times with

hammer. ATA screams until he passes out.

A German doctor appears. He holds up a large hypodermic

syringe, ATA is injected.

A bucket of cold water then is thrown over him.

ATA has been broken both physically and mentally. He is not

who he was.

TORTURER:

Maybe you would like to see your

mother again?

The broken ATA looks up through the tears, a glimmer of hope.

TORTURER:

Yes, we managed to save her...

He signals and a man who leaves the room and then re-enters

with a METAL BUCKET.

TORTURER:

We saved her head.

The man lifts MRS MORAVEC’s decapitated head out of the

bucket.

ATA:

(the ATA in the wooden

chair)

NO! NO! NO!

TORTURER:

(disembodied, echoic)

Where are the assassins?

(beat)

Where are the assassins?

(beat)

Where are they hiding?

(beat)

Where are they hiding?

ATA:

(the Ata in his Sunday

best)

Don’t tell them!

(beat)

You mustn’t tell them!

TORTURER:

(disembodied, echoic)

Where are the assassins?

(beat)

Where are they hiding?

ANTHROPOID V20:
97

ATA:

(the ATA in the wooden

chair)

STOP! PLEASE STOP!

ATA:

(the Ata in his Sunday

best)

You must never say!

TORTURER:

(disembodied, echoic)

WHERE ARE THEY?

He is going to explode out of his body. The violin music gets

louder and louder. It’s going to burst his eardrums. The

violin is now mixed with ATA’s screams and the sound builds

to a crescendo and then stops as...

ATA:

(the ATA in the wooden

chair SCREAMS)

THEY’RE IN THE CHURCH!

134B INT. GESTAPO HOLDING CELL - NIGHT. 134B

The door opens on CURDA. He is escorted out of the cell by

two guards.

On the way out he sees ATA being dragged past and into a

cell. ATA’s hands tied behind his back.

CURDA looks away, guilt, shame.

He continues down the corridor, the camera stays close on his

face as light and shadow rhythmically cross his face from the

lights above.

135 INT. CATHEDRAL, NAVE - MORNING 135

JAN, OPALKA, and BUBLIK are on the balcony doing guard duty.

All is silent. All three look exhausted. JAN is staring at

his watch. OPALKA is tapping out a beat on the butt of his

rifle. BUBLIK is spinning a coin in the air. Time weighs

heavily.

136 INT. UNDERTAKER’S GARAGE - MORNING 136

LADISLAV dressed like the UNDERTAKER.

The last of the preparations are under way. Spare pallbearer’s

uniforms are laid out. The empty coffins are closed.

The garage doors open and the two hearses drive out onto the

street and off towards the cathedral.

ANTHROPOID V20:
98

137 INT. CATHEDRAL, NAVE - MORNING 137

JAN, OPALKA, and BUBLIK sit patiently, silently.

The street outside, usually noisy is now quiet. Too quiet.

JAN exchanges glances with OPALKA and BUBLIK.

JAN creeps to the window and looks down.

POV:
The street is deserted. The Germans have closed off the

street at each end with barriers.

Suddenly there is a massive build-up of armed troops.

JAN:

The Germans are surrounding the

church.

(beat)

We have to warn the others.

OPALKA:

(stopping him)

There isn’t time. Take up defensive

positions. We hold them from here.

138 EXT. PRAGUE STREETS - MORNING 138

The approaching two hearses are forced to stop.

LADISLAV is in the passenger seat of the first hearse dressed

as an undertaker.

A German soldier approaches the hearse. Behind we see troops

taking up positions around the cathedral.

GERMAN SOLDIER #1

Where are you going?

LADISLAV:

The other side of town.

GERMAN SOLDIER #1

(signalling)

Go back. No admittance.

The colour drains from LADISLAV’s face as he realises the

cathedral will become a tomb for his comrades.

The hearse starts to reverse and turns away from the

cathedral.

139 INT. CATHEDRAL, BALCONY - MORNING 139

The first wave of Germans slowly make their way into the

church.

On the balcony, OPALKA and BUBLIK have taken up defensive

positions.

ANTHROPOID V20:
99

JAN and the others look down on the church and see

PANNWITZ, a German officer in the Gestapo, and six of his men

walking through cathedral and cautiously move to the centre.

JAN’s POV down from the nave as the soldiers enter. They are

waiting till as many of the soldiers are gathered before they

open fire.

JAN looks over at OPALKA who gives a nod and then all three

open fire on the Germans below.

Several of the Germans are hit and fall. Some fire is

returned by the soldiers but they are unsure as to where they

should be aiming.

140 INT. CATHEDRAL, CRYPT - MORNING 140

JOSEF, VALCIK, SVARC and HRUBY are awoken by the gunfire and

jump down from their beds in the wall. They cover their ears

with their hands. The noise is deafening. JOSEF grabs his

STEN.

JOSEF:

We have to help them.

JOSEF is restrained by the others.

JOSEF:

(screams up towards the

hatch)

JAN!

The others cover his mouth.

VALCIK:

We must not give ourselves away.

(beat)

The Germans only know about the

three on the balcony right now. Not

us.

JOSEF continues to struggle.

VALCIK:

If it was the other way around

would you not want to die knowing

your comrades had at least a chance

of surviving?

JOSEF thinks for a second. They release him.

141 INT. CATHEDRAL, BALCONY - MORNING 141

JAN finishes a clip and takes cover.

The Germans pull out their wounded.

ANTHROPOID V20:
100

141B EXT. CATHEDRAL - MORNING 141B

From the third floor window across the street we see the

German wounded being carried from the cathedral. The German

machine guns are training on the cathedral windows.

INT. CATHEDRAL, BALCONY - MORNING.

JAN:

Block the stairwell!

OPALKA:

But that is our only way out!

JAN:

It’s also the only way up.

JAN, OPALKA, start to throw as much furniture down the

stairway that leads up to the balcony as possible. BUBLIK

joins in until it’s jammed with furniture.

All quiet now. OPALKA winks at JAN and BUBLIK. Silence. Then

a tremendous roar of automatic fire and crashing glass as

teams of German machine gunners opposite the church start

strafing the building.

There is nothing the three can do except take shelter behind

the great stone pillars that rise up in the cathedral, and

wait for the firing to cease.

JAN looks over BUBLIK. Bullets ricochet around BUBLIK as he

tries to make himself invisible. BUBLIK starts to panic and

hyperventilate.

JAN:

Bublik!

(beat)

Bublik!

BUBLIK is not there. Tears rolls down his face and he is

covering his ears with his hands whilst in the foetal

position.

JAN slides over to BUBLIK and grabs him.

The fire dies down silence again but BUBLIK is still trying

to dig himself in to the stone floor.

JAN:

Hey! Hey! Breathe! With me.

(beat)

Big breath in.

(beat)

Big breath out.

JAN grabs a clip and a fistful of ammo from his pocket.

BUBLIK:

I don’t want to die today.

ANTHROPOID V20:
101

JAN:

(mimicking Josef)

Here! Look, as we were trained.

JAN loads a bullet into the clip.

JAN:

Nice and easy. You do it.

BUBLIK starts to load a bullet into the clip.

JAN:

That’s it. Easy.

(beat)

Concentrate on the detail.

BUBLIK loads another. The panic attack subsiding.

JAN:

It’s OK, Bublik. You are not alone.

We are here with you.

(beat)

And Czechoslovakia is here with us.

BUBLIK shakes his head, sniffs back snot and nods.

It’s a tender and heart-breaking scene. JAN passing on what

JOSEF had done for him in his time of need.

JAN looks over at OPALKA and nods that everything is OK.

EXT. CATHEDRAL - MORNING

A detachment of Waffen SS move into position at the front

door. Another A detachment of Waffen SS go through FATHER

PETREK’s apartment door which is attached at the front of the

cathedral.

INT. CATHEDRAL, BALCONY - MORNING.

JAN looks over to the balcony and sees the church swarming

with Germans.

JAN, OPALKA and BUBLIK open fire on the Germans below and all

hell breaks loose again.

A German machine gun team enters. They find a position and

load. Opening fire at JAN, the wooden balcony splinters into

hundreds of pieces as he drops for cover.

He pulls a large splinter from between his knuckles.

The furniture in the stairwell starts to move.

JAN:

BUBLIK! COVER THE STAIRWELL!

ANTHROPOID V20:
102

BUBLIK ups and runs to see the Germans pulling chairs away

from the stairwell. He opens fire on them dropping two before

fierce gunfire is returned and he is forced back into cover.

144 INT. UNCLE HAJSKY’S APARTMENT, KITCHEN - DAY 144

UNCLE HAJSKY sits at the table staring into space. A clock

ticks in the room. A startling contrast to the previous

scene.

UNCLE HAJSKY turns to see:

POV:
of the front door. Silhouettes can be seen on the other

side of the glass.

UNCLE HAJSKY removes his glasses like a man ready to go to

sleep at the end of a long day.

He places the glasses onto the table and we hold on them in

CLOSE UP as UNCLE HAJSKY can be seen getting up from the

table through the lenses.

145 INT. BATHROOM - DAY 145

UNCLE HAJSKY enters the toilet and closes the door to a

crack, peering out, when:

The front door bursts open. Shouts as Gestapo officers run

in. UNCLE HAJSKY closes the door, locks it, looks up and then

take out his cyanide capsule and regards it. Shouting from

outside and someone violently tries the handle to the locked

door. UNCLE HAJSKY DROPS THE CAPSULE.

He drops to his knees just as the Gestapo open fire. The wood

splinters as bullets rip through the door. UNCLE HAJSKY is on

his knees looking for the capsule BUT HE DOESN’T HAVE HIS

GLASSES. He pats the floor with his hands in order to feel

for it.

IN EXTREME CLOSE UP his hand makes contact with the capsule

and he puts it in his mouth and bites down as the Gestapo

kick the door in.

UNCLE HAJSKY roles over onto his back looking up at a Gestapo

officer.

His look defiant. The Gestapo officer realises and screams at

the others for help. He tries to lift UNCLE HAJSKY but it’s

too late, he is already dead.

147 INT. CATHEDRAL, BALCONY - MORNING 147

JAN is reloading, he looks over to see OPALKA taking shots at

the German below.

The Germans bring in a box of fragment grenades under heavy

fire from the balcony.

ANTHROPOID V20:
103

JAN turns to see the furniture cave in down the stairwell.

JAN:

BUBLIK! THE STAIRWELL!

BUBLIK looks down to see the Germans pulling furniture from

the stairwell but before he can fire is fired upon and has to

take cover.

BUBLIK:

WE HAVE LOST THE STAIRWELL!

JAN looks at OPALKA and OPALKA up and runs just as two

Germans appear at the top of the stairs.

JAN fires at them killing them.

OPALKA using some bookshelves as cover fires down the

stairwell killing another approaching German clambering over

the furniture barricade. His gun then clicks empty and he

reloads.

Suddenly the stairwell is all quiet.

Then a grenade is thrown up the stairwell. It bounces off the

wall and rolls between OPALKA and JAN.

JAN sees the grenade and then looks at OPALKA.

OPALKA looks at the grenade and then at JAN.

JAN dives for cover and the grenade goes off!

148 INT. CATHEDRAL, CRYPT - DAY 148

The explosion shudders the crypt and dust and cement fall

from the ceiling above. The men are all fixated on the noise

above them.

149 INT. CATHEDRAL, BALCONY - DAY 149

JAN recovers to see through the debris that OPALKA is slumped

against the bookshelves badly wounded. Blood pours from his

ears and nose and most of his right side is damaged by the

blast.

OPALKA takes a cyanide capsule from his jacket collar and

puts into his mouth.

JAN watches as OPALKA crunches down on the glass.

OPALKA then put the pistol to his temple and pulls the

trigger.

BUBLIK who is on the upper level sees more Germans at the top

of the stairwell and opens fire but one gets through.

BUBLIK:

THEY ARE COMING THROUGH!

ANTHROPOID V20:
104

JAN runs up the stairs to the upper level and turns to see

the German behind him. JAN opens fire and kills him. His gun

clicks empty.

JAN:

(taking cover)

I’M OUT!

BUBLIK throws over his last clip.

BUBLIK:

MY LAST ONE.

JAN slams the clip home, cocks the weapon and fires back down

hitting three Germans but one throws up a grenade.

JAN runs back through the next arch and takes cover as the

grenade explodes behind him.

JAN:

Kurva!

A bullet has also scraped his left eyebrow and blood trickles

down. He tries to swipe it in order to see. Takes his handgun

from his waist belt and sees:

BUBLIK firing into the nave from the next arch back. BUBLIK’s

STEN clicks empty, he drops it and pulls his handgun from

waist belt and continues to fire.

JAN turns and sees three Germans making their way along the

upper level and he fires at them hitting all three. He turns

and sees:

A grenade bounce off the wall behind BUBLIK, who picks it up

and throws it into the nave but another is thrown and lands

in the last arch behind him.

BUBLIK goes to retrieve it.

JAN:

BUBLIK!

Before BUBLIK gets to the arch the grenade goes off and

knocks him back. He rolls backwards and falls off the ledge.

He just manages to grab on with one hand and dangles 30 feet

above the nave.

JAN runs to the edge, leans down and grabs his arm, lifting

him up. The Germans fire from the nave below. JAN is hit

three times in the shoulder and arm. He falls backwards

dropping his grip on BUBLIK.

Wedged in the corner he is breathing hard. Shock on his face.

JAN stares at the now empty edge where BUBLIK was and is no

more.

JAN turns onto his front and crawls through the last arch.

Another grenade lands behind him where he was slumped and it

goes off, showering him in debris.

ANTHROPOID V20:
105

JAN gets to the end wall - nowhere else to go. He loads his

pistol with his last full magazine and fires at the oncoming

Germans through the arch.

Hits three and misses just as many.

CLICK.

His gun empty, he reaches for his last single bullet and

starts to load it into the clip.

A German grenade bounces into his lap. His throws it over the

edge and into the nave.

He cocks the weapon.

A German standing in front of him screams:

GERMAN SOLDIER #1

HALT!

JAN puts the gun to his temple and pulls the trigger.

150 INT. CATHEDRAL, CRYPT - DAY 150

JOSEF, VALCIK, SVARC and HRUBY stand waiting anxiously. The

single shot that still echoes has signalled the cease-fire.

All is now quiet. They look at each other. It’s obvious that

it’s all over upstairs. Just the heavy silence now that

betokens death.

151 EXT. CATHEDRAL - MORNING 151

The bodies of JAN, OPALKA and BUBLIK have been carried out

the church in rugs and laid on the pavement.

PANNWITZ, KARL FRANK and many onlookers, including CURDA who

is pushed to the front to identify the men.

CURDA:

This is Jan Kubis.

(beat)

That’s Adolf Opalka.

(beat)

Him, I don’t know, but its not

Josef Gabcik or Valcik.

150B INT. CATHEDRAL, CRYPT - MORNING 150B

The four faces stare up from the darkness.

Suddenly the flagstone is lifted up and light pours into the

crypt.

Through the opening of the flagstone a German soldier is

lowered down on rope.

ANTHROPOID V20:
106

JOSEF steps forward and opens fire with the Sten and hits the

soldier in the knee-caps.

The soldier screams and is quickly hauled up by his comrades.

The voice of PANNWITZ is then heard through a flagstone

opening.

PANNWITZ (O.S.)

It is in your own interests to give

yourselves up peacefully.

(beat)

You have nothing to fear.

The four are surprised and shocked by this announcement.

152 INT. CATHEDRAL, NAVE - MORNING 152

PANNWITZ:

This need not end in further

bloodshed.

PANNWITZ signals to the entrance and CURDA is dragged in by

the arm.

There is a long silence. The men wait expectantly.

PANNWITZ:

Our patience can only be relied

upon for a short time. We urge you

to give yourselves up now

peacefully.

PANNWITZ urges CURDA to talk to them.

CURDA:

Josef? You should surrender now and

save yourselves.

(beat)

Do you hear me?

(beat)

You will be treated humanely as

prisoners of war.

150C INT. CATHEDRAL, CRYPT - MORNING 150C

JOSEF’S POV:
CURDA is with two Gestapo officers.

JOSEF:

That’s Curda!

VALCIK:

Curda!?

JOSEF:

Traitor!

JOSEF opens fire with his Sten gun in CURDA’s direction. The

Germans take cover.

ANTHROPOID V20:
107

JOSEF:

We are Czechs. We will never

surrender!

The Germans open fire with the machine guns opposite and

chunks of masonry are churned out around opening of the crypt

slit.

JOSEF and the others are forced deeper into the crypt.

153 EXT. CATHEDRAL - MORNING 153

A German officer screams to halt the machine gun fire.

150D INT. CATHEDRAL, CRYPT 150D

Silence. The men regard each other. JOSEF takes four bullets

and distributes them among the men.

JOSEF:

We save the last one for us.

They all nod.

Then two tear gas grenades are thrown into the crypt through

the vent.

VALCIK quickly picks these up and throws them back on to the

street.

154 EXT. CATHEDRAL - MORNING 154

Firemen bring hoses and spot lights are placed to shine light

into the crypt.

150E INT. CATHEDRAL, CRYPT - MORNING. 150E

A large fireman’s hose is then thrown through the vent of the

crypt and gallons of water are pumped in.

JOSEF climbs the ladder and struggles with the hose. He

manages to push it out back on to the street.

SVARC and HRUBY take up the tools and furiously attack the

masonry hoping they can break through to the sewer.

CLANG...CLANG...CLANG...

JOSEF turns just in time to see a grappling hook catch the

ladder by the slit high up on the wall at the end.

JOSEF jumps to grab hold of the ladder but is too late and

the ladder is yanked out through the slit to the street.

There is no way now to stop the gallons of water pouring into

the crypt.

ANTHROPOID V20:
108

The fireman’s hose is put through the slit again and water

gushes into the crypt again.

155 INT. CATHEDRAL, NAVE - MORNING 155

The plans for the cathedral have been discovered and are

being studied by Germans.

Carpets are pulled up and a large concrete slab covering the

main stairs into the crypt is found.

150F INT. CATHEDRAL, CRYPT - MORNING 150F

Gallons of water pour into the crypt.

HRUBY and SVARC continue feverishly hammering at the masonry.

Water rises and washes over a burning candle extinguishing

its flame.

156 INT. CATHEDRAL - MORNING 156

The Germans chisel detonators into the concrete slab and reel

the trigger wire away to a safe distance.

150G INT. CATHEDRAL, CRYPT - MORNING 150G

JOSEF wades towards the SVARC and HRUBY when suddenly there

is a very loud explosion at the back of the crypt and the

shock wave throws JOSEF into the now deep water.

Brief underwater shot and the SOUND FADES AWAY.

[NOTE:
THE FOLLOWING SEQUENCE PLAYS OUT TO A HAUNTING PIECE

OF PIANO MUSIC. NO PRODUCTION SOUND IS HEARD. THE FOLLOWING

SHOTS ARE HAND-HELD AND WILL CONVEY THE DRAMA AND IMMEDIACY

OF THE SITUATION.]

JOSEF comes up for air and turns. A cloud of dust envelops

the crypt.

The Germans have blasted a bricked-up entrance at the back

top part of the crypt. Underneath the blast hole are stone

steps leading down into the crypt.

HRUBY and SVARC continue feverishly hammering at the masonry.

HRUBY stops chiselling the masonry and turns to face JOSEF

and VALCIK.

JOSEF and VALCIK look over at HRUBY.

HRUBY’s face, soaking wet, void of hope. He shakes his head.

There is no escape into to the sewers. It’s hopeless.

VALCIK throws a spare pistol at HRUBY.

ANTHROPOID V20:
109

HRUBY catches it, cocks it.

SVARC takes his pistol from his belt and clocks it.

They all turn to the steps that lead up to the blast hole and

take up defensive positions.

Two German soldiers run down the stone stairs into the crypt.

JOSEF wades forward and fires his pistols twice.

A hand-grenade is thrown into the crypt and falls into the

waist-level water at the bottom of the steps. It explodes.

The water absorbs most of the blast but a massive plume of

water is thrown up drenching the men.

Two more German soldiers come down the steps.

VALCIK opens fire killing them but the Sten gun clicks empty.

He throws it into the water and takes his pistol from his

belt.

Another grenade hits the water.

The men take cover. The water explodes upwards.

Another German takes the stairs down into the crypt.

HRUBY fires till his gun clicks empty.

JOSEF shakes his head in resignation and takes the single

bullet from his breast pocket. He holds his open palm

outstretched toward the other three men.

They all take a single round from their pockets. They come

together. Four palms each open with a bullet.

JOSEF clenches his fist around the bullet. The others do the

same. The four fists are an eloquent symbol of strength and

resistance.

The chambers of the weapons are loaded and clocked.

They smile sadly. Then all four place the guns to their

temples.

Close up of JOSEF.

A German has got down the first two steps and fires his

machine gun at them.

Two are slightly hit but then shoot themselves so there is no

chance of being taken alive.

BANG. BANG. BANG.

In the cross-fire HRUBY, VALCIK and SVARC fall into the

water.

Close up of JOSEF, the gun at his temple - looking straight

ahead.

ANTHROPOID V20:
110

A split second of silence.

FLASH FRAMES of the back of LENKA’s head. Hair gently blowing

in the wind. CAMERA Slowly tracks in to her.

LENKA’s dead hand hangs limp. Blood dripping from the

fingertips.

JOSEF’s POV:
LENKA standing opposite him. Wet, pale, angelic.

Up to her waist in water. A white lace dress hugs her elegant

figure and flows in the water around her.

She smiles.

Close up of JOSEF’s eyes. They seem to briefly smile.

BANG.

The water from the hose continues to pour into the crypt.

The German soldiers walk down the steps, guns at the ready.

The bodies of JOSEF, VALCIK, HRUBY and SVARC float in the

swirling waters.

Close up of the PHOTO of LENKA floating on the surface of the

water. It swirls around with other floating debris until it

sinks below the surface and fades from view in the darkness.

CUT TO BLACK:

TITLE CARD:

Josef Gabcik

Jan Kubis

Adolf Opalka

Josef Valcik

Jaroslav Svarc

Josef Bublik

Jan Hrubry

The seven parachutists held the church for 6 hours.

TITLE CARD:

Four months before his assassination, Reinhard Heydrich

attended a secret meeting in Wannsee to finalise the Nazi

policy of Jewish extermination.

Heydrich is considered to be one of leading architects of the

Final Solution to the Jewish ‘question’.

TITLE CARD:

The Czechoslovak Government-in-exile considered the

assassination of Heydrich as an act of retribution and a

clear sign that Czechoslovakia was still resisting Nazi rule.

It was also meant to send a clear message to the Nazis that

none of them were untouchable and could be made to answer for

their actions at anytime.

ANTHROPOID V20:
111

It was an important message but sent at great cost to the

Czech people.

In the aftermath of the assassination over 5000 Czech men,

women and children were executed by the SS.

For helping in the assassination, Marie Kovárniková,

reportedly pregnant with Jan’s child, was executed at

Mauthausen concentration camp on 24 October, 1942.

TITLE CARD:

The traitor Karel Curda was arrested by the Czech authorities

in 1945 and hanged two years later for treason.

TITLE CARD:

Vanek Ladislav was arrested by the Gestapo on 4th September

1942. He gave up many of the names associated with the Jindra

resistance group and survived the war as a prisoner at

Gestapo headquarters.

After the war he became a collaborator for the Czechoslovak

state police (StB) and informed on anticommunist activities.

The accounts of his part played in the assassination of

Reinhard Heydrich have subsequently been challenged.

TITLE CARD:

After the assassination and the bloody reprisals committed by

the Nazis on Czech citizens, Winston Churchill declared the

Munich Agreement null and void and counted Czechoslovakia as

an important ally in the fight for freedom.

END CREDITS:

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Sean Ellis

Sean Ellis is an entrepreneur, angel investor, and startup advisor. He is the founder and CEO of GrowthHackers and was previously founder and CEO of Qualaroo. more…

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"Anthropoid" Scripts.com. STANDS4 LLC, 2017. Web. 15 Dec. 2017. <http://www.scripts.com/script/anthropoid_553>.

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