Transcript

The Man in the High Castle - Pilot - Table Read

From Table Read Tuesdays · Episode page · Watch on YouTube

· 2 h 9 min · 17,598 words · 138 timestamped sections

This is the full, timestamped transcript of "The Man in the High Castle - Pilot - Table Read", an episode of Table Read Tuesdays published April 30, 2025 (2 h 9 min, about 17,598 words). It mentions 22 people, works and ideas, including World War II, Joe Blake, Juliana Crane, Gestapo, Trudy Walker.

What this episode is about

The content features a table read of the pilot episode of "The Man in the High Castle," with participants introducing themselves and their roles in the reading. Each reader shares their background, roles, and social media handles, setting the stage for the dramatic reading of the script.

Key takeaways

  • In an alternate universe, even dystopia can spark creativity—just ask these enthusiastic actors on a Tuesday.
  • Not all stories are comfortable; some require actors to brave the throat of history and symbolism.
  • When performance meets potentially offensive content, the line between art and discomfort blurs—respect matters.
  • Lost in translation: personal histories and cultural biases shape how we engage with narratives across borders.
  • Welcome to the 'neutral zone'—where outdated language lives on and respect for performance remains paramount.

Who speaks in this episode?

What is discussed, and when

  1. – 15:00: Facebook, Instagram, The Man in the High Castle, Joe Blake
  2. – 30:00: Lariat Shipping, Gestapo, Joe Blake, Trudy Walker
  3. – 45:00: Gestapo
  4. – 1:00:00: World War II, The Man in the High Castle, The Grasshopper Lies Heavy, D-Day
  5. – 1:15:00: Canon City
  6. – 1:30:00: Trudy Walker, Canon City, Juliana Crane, Japanese Pacific States
  7. – 1:45:00: Canon City, Lariat Shipping
  8. – 2:00:00: World War II
  9. – 2:09:09: World War II, The Man in the High Castle

Notable quotes from "The Man in the High Castle - Pilot - Table Read"

  • Woo. And February Tuesdays, we are going to read The Man in the High Castle, the pilot episode. and before we go into the script itself, we're going to do some introductions of who's reading with.
    about The Man in the High Castle · at
  • Aid Evader Vandal Man's voice Arnold Ed man the Gestapo officer on phone. Awesome.
    about Gestapo · at
  • This one takes place in about the in the early 1960s when the pre the premise is that the US lost World War II and the Germans and Japanese instead won and they divided the…
    about World War II · at
  • The world has never known. Thank you. Interior movie theater night. Joe Blake, late 20s, sits on the crowd. He checks his watch on edge.
    about Joe Blake · at
  • Entrance, a woman stares at camera, sweat beated on her brow, eyes fierce and focused. This is Juliana Crane, late 20s. We're Oh, interior dojo. Day one.
    about Juliana Crane · at
  • Juliana sees her halfsister, Trudy Walker, mid20s, hurrying in, breathless.
    about Trudy Walker · at
  • Greater Nazi Reich occupies the country from the East through the Midwest. The Japanese Pacific states control the west. The Rocking Mountains acting as a neutral zone between…
    about Japanese Pacific States · at
  • He finds a roll of 16 film, not identical, but similar to Juliana's, but like hers, someone has written, The grasshopper lies heavy on it. Joe stares at it, thinking. Exterior checkpoint, late night one. Joe rolls to a stop, takes.
    about The Grasshopper Lies Heavy · at

Who and what is mentioned in this episode?

People

  • Joe Blake — Person · Primary character in the pilot (script role) · 3 mentions · first at
    Central POV character in the New York storyline; his apparent resistance involvement and end-of-episode reveal drive the pilot’s twist.
  • Juliana Crane — Person · Primary character in the pilot (script role) · 2 mentions · first at
    Central POV character in the San Francisco storyline; receives the film, loses her sister, and travels to Canon City to continue the plot.
  • Trudy Walker — Person · Key supporting character (script role) · 3 mentions · first at
    Catalyst for Juliana’s arc: she delivers the satchel/film and is killed, motivating Juliana’s journey and the mystery of the films.
  • Philip K. Dick — Person · Referenced author (source material) · 1 mention · first at
    Mentioned as the author of the novel that the TV series/script is based on, providing literary provenance and context.
    Didn't remember. But there is a movie that was made like the '9s of this. So this is it's based on a book by Philip K. Dick. He's the guy who wrote Do Androids Dream of Electric Sheep, which was translated to Iroot.
  • Frank Spotnitz — Person · Referenced creator (writer of the pilot teleplay) · 1 mention · first at
    Credited in the read-through as the pilot’s writer, anchoring authorship of the TV adaptation episode being performed.
    So, this is The Man in the High Castle's first episode written by Frank Spotnit, directed by David Smelll. Well, on TV, and it was written in August 2014. All right. Oh, I just got to move my chat.
  • David Semel — Person · Referenced director (pilot episode director) · 1 mention · first at
    Credited as director in the read-through, providing production context for the pilot episode being discussed/performed.
    So, this is The Man in the High Castle's first episode written by Frank Spotnit, directed by David Smelll. Well, on TV, and it was written in August 2014. All right. Oh, I just got to move my chat window. All right. A musical fanfare,.
  • Shauna Taft — Person · Reader · 1 mention · first at
    One of the readers for the podcast episode.
    Let's go off to Shana. Hi there. I'm Shauna Toaft. I'm in Dallas, Fort Worth, Texas, and I can be found on Instagram, Tik Tok, Facebook, all the socials pretty much under my name, Shauna.
  • Dan Claris Gomez — Person · Reader · 1 mention · first at
    One of the readers for the podcast episode.
    Hello everyone. My name is Dan Claris Gomez. I'm from Manila, Philippines. I'm a podcast host and you can follow my podcast called The Dank Claris Gomez Show.

Books & papers

  • The Man in the High Castle — Book · Source material · 4 mentions · first at
    The episode is based on the book, which explores an alternate history where the Axis powers won World War II.
  • The Grasshopper Lies Heavy — Book · Plot device · 2 mentions · first at
    A film within the story that shows an alternate outcome of World War II, serving as a key plot element.
  • Do Androids Dream of Electric Sheep? — Book · Referenced work · 1 mention · first at
    Another work by Philip K. Dick, mentioned to establish the author's credibility.
    Of this. So this is it's based on a book by Philip K. Dick. He's the guy who wrote Do Androids Dream of Electric Sheep, which was translated to Iroot.

Companies & orgs

  • Gestapo — Company · Antagonist organization · 5 mentions · first at
    The Gestapo is the secret police of Nazi Germany, playing a key role in the oppressive regime depicted in the episode.
  • Lariat Shipping — Company · Resistance front · 6 mentions · first at
    A cover for resistance activities against the Nazi regime.
    Of paper. A sign confirms this is Montalk Avenue. He looks down the block, sees lariat shipping and moving. He heads towards it, passing Destapo officers questioning a man…
  • Amazon Prime Video — Company · Distribution platform · 1 mention · first at
    The platform where 'The Man in the High Castle' series is available.
    You all. Let's see. It's a really good show, by the way, for anybody who's watching. It's on Amazon Prime Video.
  • Facebook — Company · Platform · 5 mentions · first at
    Mentioned as a social media platform where characters can be found.
    Descriptions in the second section. and some small roles, bartender Shos, and I do a woman's voice. You can find me on Facebook under the name Vicky Dykes, and I'm on Instagram.
  • Instagram — Company · Platform · 5 mentions · first at
    Mentioned as a social media platform where characters can be found.
    On Spotify. You can look it up called Unexpected Journey. And yeah, you can that's you can find me on Instagram under Lucy and the Fair and on YouTube or not YouTube, sorry, Facebook as Aubrey McCoy.
  • Blue Sky — Company · Platform · 1 mention · first at
    Mentioned as a social media platform where a character can be found.
    My pronouns are he, him, and can be found on Blue Sky under Simon Squire, actor, and Facebook under Simon Squire. Awesome. let's go to Heather.

Places & events

  • World War II — Event · Historical backdrop · 4 mentions · first at
    The alternate history premise of the episode is based on the Axis powers winning World War II.
  • Japanese Pacific States — Place · Political entity · 2 mentions · first at
    Represents the Japanese-controlled western United States in the alternate history.
  • Canon City — Place · Setting · 5 mentions · first at
    A location in the neutral zone where key events of the episode take place.
    Neutral zone between doc traces a path from New York to Canyon City, Colorado. You'll take the auto van all the way across the rapping you canyon city.
  • D-Day — Event · Historical reference · 1 mention · first at
    Referenced in the alternate history film within the story, showing an Allied victory.
    From World War II, but very different from the color film we saw in the Nazi news reel. American troops land on D-Day. The Allies liberate Paris. Berlin lies in ruins. GI's cheering, kissing girls in Time Square, celebrating VE Day.
  • VE Day — Event · Historical reference · 1 mention · first at
    Referenced in the alternate history film within the story, showing an Allied victory.
    News reel. American troops land on D-Day. The Allies liberate Paris. Berlin lies in ruins. GI's cheering, kissing girls in Time Square, celebrating VE Day.

Full transcript with timestamps

I'll do it after the introduction. We are live on YouTube. There we go. It's Saturday Night Live. And no, it's really not because it's Tuesday night. Woo. And February Tuesdays, we are going to read The Man in the High Castle, the pilot episode. Uh, and before we go into the script itself, we're going to do some introductions of who's reading with us tonight. So, I'll let Vicki start since she's our our longest time reader here. So, heck yeah. Hello. I'm Vicki Dykes. I'm from Penhold, Alberta. Uh my pronouns are she, her. Tonight, I will be reading for Joe actions and descriptions in the second section. Um and some small roles, bartender um Shos, and I do a woman's voice. You can find me on Facebook under the name Vicky Dykes, and I'm on uh Instagram.

I'm yoga grammar 10. Awesome. Uh, next up, let's go to Aubrey. Well, hey there everybody. I'm Aubrey McCoy. Uh, my pronouns are you can call me whatever. I I will respond to any any and all. And uh that is I'll be reading tonight is uh Frank and Nakamura and some other very small roles uh as well as actions and descriptions. You can find me uh all over the YouTubes. Uh I'm I'm in a lot of different places. I also have a album on Spotify. You can look it up called Unexpected Journey. And uh yeah, you can that's you can find me on Instagram under Lucy and the Fair and on YouTube or not YouTube, sorry, Facebook as Aubrey McCoy.

Awesome. Um Simon. All right. Uh my name is Simon Squire. I'm in Halifax, Nova Scotia, Canada. Um and I'll be playing the roles of uh well descriptions and whatnot. So, I'll be doing the propaganda narrator, John Smith, a bus driver, and Inspector Keo. My pronouns are he, him, and uh uh can be found on Blue Sky under Simon Squire, actor, and uh Facebook under Simon Squire. Awesome. Uh let's go to Heather. Hello all, I'm back. Isn't that wonderful? My name is Heather Lee Cameron. I'm an actor. I'm a freelance journalist and I'm a creative freelancer. I can be found on Facebook under Heatherly Freelancer, on Instagram under Heather Lee Cameron, and on YouTube under the Storm and Latter Day Saints, and you can find all my other links through there. Uh, tonight I will be playing Warren, Trudy, an Barman in the neutral zone.

I will be reading the actions and descriptions and Baines and Rudolph Wagner. I I don't know how to pronounce that. Who cares? Um, I don't believe in the messages that this script is sending, but I am an actor. I am helping tell a story. I am performing a role. If you feel uncomfortable, you do not have to watch, but please respect what we are doing as actors because we are working very hard to help recommunicate a story that's already been told. and we respect all of your rights to do what you wish with what we are doing, but please respect our right to perform this story for you. We love you very much and respect your right to choose, so please respect us. Thank you. Thanks, Heather.

Um, let's go off to Shana. Hi there. I'm Shauna Toaft. I'm in Dallas, Fort Worth, Texas, and I can be found on Instagram, Tik Tok, Facebook, all the socials pretty much uh under my name, Shauna Taft. I'm also on Linkree, and uh you can get links to all my other profiles on there as well. I will be uh playing Juliana, Reese, Madson, and Aard. Awesome. Um and then off to John. You'll have to unmute. There was some background noise. Hello everyone. My name is Dan Claris Gomez. I'm from Manila, Philippines. I'm a podcast host and you can follow my podcast called The Dank Claris Gomez Show at on Instagram and I also have an official Instagram account that was my personal for my podcast at the JC Gome JC Gomez official. And that's it. And I am playing the the role of teenager Donny Herbalis Doc Aid Evader Vandal Man's voice Arnold Ed man the Gestapo officer on phone. Awesome.

That's it. So he's got a lot of characters to keep track of. Um all right. And I am Cat Wilson, one of your hosts tonight. Um, and I am my pronouns are she, her. I am from Gig Harbor, Washington. And tonight I'll be reading um, primarily Tagi. Um, as well as Japanese man and a Japanese officer. And the last set of actions and descriptions. And I will apologize right off the bat for my lack of a Japanese accent despite the fact that my mom was full Japanese. Uh, she raised me because of racism. and she wanted me to have an American accent growing up uh which was very she let me forget an entire language also. So um I have a lot of u personal feelings with this film here as we go through um and um just to give you a little bit of background on the film.

This one takes place in about the in the early 1960s um when the pre the premise is that the US lost World War II and the Germans and Japanese instead won and they divided the country up in half. So the Germans and the Nazis have sort of the eastern seabboard um up through the Appalachians and a little bit beyond. The Japanese have all of the West Coast um and inward a little bit and then the middle the Midwestern part of the United States is now a neutral zone full of lawlessness um kind of like the Old West. Um and Simon, I'm going to let you talk a little bit about what we might see in this film here too um and what we might want to avoid if you'd like. Uh yeah, so as uh previously mentioned, it takes place in the early 1960s, 1962 to be precise. And uh uh because of the setting in an alternate universe where the axis powers uh were the ones that won out. Uh basically there's going to

be a lot of outdated language. Um there's going to be some zigiles. There's going to be some derogatory terms for Japanese. Uh a little bit well some anti-semitism. Um uh those of us who are comfortable to read things as they're written will do so. others will change and adapt as so. Um, it's not a reflection of who we are. It's just a reflection of what's written. So, awesome. All right. So, without further ado, I think we'll jump right into the script. I'll go ahead and share it on our screen here and um hope that you enjoy listening to it. I have it pulled up, by the way, just cuz I can't see that small print. I'm old. That's fine. You're welcome to have it on. Stop it. You are not old, Heather. I'm 37.

Can you believe that? Well, I'm older than you. People say I look 25. Hooray. I'm not the baby anymore. A little larger here, too, cuz it's um Let's see. Make it full screen here and then make the point a little larger for you all. Let's see. It's a really good show, by the way, for anybody who's watching. It's on Amazon Prime Video. Four seasons long. Amazing. So, I actually So, so funny enough, I've actually seen the movie. There was a movie that was made of this and I saw the movie, not a series, so that's why I didn't remember. But there is a movie that was made like the '9s of this. So this is uh it's based on a book by Philip K. Dick. He's the guy who wrote uh Do Androids Dream of Electric Sheep, which was translated to Iroot.

Uh Bladeunner also. Yes. Yes, there is an there's also a book by called Iroot by um um oh my gosh, his name is so it's a different Anyways, yeah, we'll talk about later. Let's get This is a long script for a pilot episode. So, yeah, there's so much I could say about alternate universes as an actor and as an observer, but let's save that for later. All right, so Simon, you're up with action descriptions. Is this large enough print for everyone? Let me in case she here. Yeah. No, that's fine. All right. Take it away. I see.

So, this is The Man in the High Castle's first episode written by Frank Spotnit, directed by David Smelll. Well, on TV, and it was uh written in August uh 2014. All right. Oh, I just got to move my chat window. All right. A musical fanfare, stirring and triumphant. Title card, our proud nation. Then news reel film oversaturated kodchrome color. Adolf Hitler greets Nazi officers at his mountaintop retreat in Bavaria. A grateful nation congratulates the Fura on the eve of his 50th anniversary as the Reich as Reich's chancellor. At 73, Hitler looks grandfatherly. His hair and toothbrush mustache have gone gray. His right hand is stuffed in his pocket. His wife, Ava Brown, 50s, is by his side. An era of strength and prosperity such as the world has never known. Thank you. Interior movie theater night. Joe Blake, late 20s, sits on the crowd. He checks his watch on edge.

Having a hard time focusing on the screen where angle over to the colored news reel shows soldiers firing carabiners, tanks crushing walls. Luftwaffer plains strafe cities buildings ablaze the fura's iron will has forged by six years of was b I'm going to restart that the fur's iron will was forged by six years of bloody world war atomic mushroom clouds explode leaving cities as fast ruins littered with thousands of corpses ending with deployment of the Heisenberg device solemn surrender ceremonies our enemies vanquished the furer determined to build a better world continued. Color film of Jews rounded up, shops broken and burned. Heroic music stirs. A world cleansed of Jews, gypsies, homosexuals, and cripples, office clerks and skyscrapers, factory workers at massive assembly lines, farmers plowing fields, a world united in common purpose, all content in their work, all looking towards a better

future. A man, 30s, sllicked hair. Where'd it go? Sits beside Joe. He keeps his eyes on the screen, passes Joe a slip of paper. Music build building. The Third Reich, the greatest industrial and agricultural force in history. Joe picks up an overnight bag. Starts out behind him. A Nazi eagle fills the screen. Isle Hitler. Interior theater. Lobby night. Vaulted ceilings. Ornate scroll work. A man wipes the candy counter while a cigarette girl tray around her neck and fishnet stockings picks at her red nails. Bored. The sound of a cartoon spills from inside the theater as Joe makes his way past. He's anxious but tries not to show it. He doesn't want to attract attention. Exterior theater night one.

The Marquee. Sorry. The Marquee advertises The Punch Party, a remake of a frothy Nazi comedy starring Rock Hudson and June Allison. Joe, pardon me. Joe steps out, makes sure no one's watching, then reaches for the slip of paper. An American Eagle stamped on one side, on the others, lariat manager. 4112 East Malk. Joe tucks the paper back in his pocket, then runs across the street, dodging checker cab. Only now we see that we're in Time Square. Giant neon billboards pulse and strobe, but instead of ads for Coca-Cola and Camel cigarettes, an enormous swastika and signs bearing Nazi slogans. Work is freedom, productive capitalism, strength through happiness, the common good before the private good.

A legend reads, "Nazi occupied New York City, 1962." As Joe disappears down a subway entrance, a woman stares at camera, sweat beated on her brow, eyes fierce and focused. This is Juliana Crane, late 20s. We're Oh, interior dojo. Day one. Juliana stands opposite a beefy Japanese man, both in Aikido dress. Students line the mat. a moment before battle. And then the beefy man lunges at Juliana. She deflects, grabs his wrist, sends him tumbling on his ass. We track past the other students, all Japanese. All men in their in their 30s and 40s, all frowning, clearly rooting for the beefy man to beat this female upstart, except a skinny teenager who stares at Juliana, adoring, and Nakamura, the instructor's showman, watching impassively.

Beefy Man gets back on his feet, ready for another try. In cuts, he reaches for Juliana. She jabs his chest, throws him, flips him over again and again and again. Nakamura stands, ends the match. The teenager sees the other men's dismay. Nakamura kneels to Beefy Man on his knees. You all right? Beefy Man nods, winded. Nakamura smiles, good-natured. H only your ego is bruised. This is the beauty of Aikido. It is not about harming your opponent. It does not attack. It depends. He directs Beefy Man back to his place at the mat's edge.

It requires skill, not strength, to turn an opponent's aggression against him. This is how a woman can defeat a man twice her size. He smiles at Juliana, packs her gear. Oh, hang on a second. Oh, I see the line jumped up. He smiles at Juliana, who smiles back, modest but pleased. Class over. Juliana packs her gear. She feels the glares of the other students, ignores them. The teenager approaches. Miss Queen, congratulations. Thank you, Donnie. You can call me Juliana, you know. She hooks a necklace with a delicate heart-shaped pendant.

Your necklace? It's bevel. Thanks. My boyfriend made it. Ah, is he an artist? He used to be. Mustering his courage. Juliana, would you would you allow me to buy some tea? I can't. My mother's expecting me. How about tomorrow before class? Off Donniey's smile. Exterior street day one. Juliana bag over her shoulder walks out of the dojo. Passes rickshaw's Japanese soldiers signs in kanji and a and a banner being hoist hoisted. Welcome H. The crown prince and princess. As Juliana walks, camera rises up, revealing the San Francisco skyline.

The Golden Gate Bridge spanning the bay. A legend reads, "Japanese occupied San Francisco." Exterior: Brooklyn Street, night one. Aidi neighborhood in East New York. An elevated Montreal glides past the skyscrapers of Manhattan beyond. Joe exits the station, glances at the slip of paper. A sign confirms this is Montalk Avenue. He looks down the block, sees lariat shipping and moving. He heads towards it, passing Destapo officers questioning a man, examining his identity, sorry, examining his identity papers under a street light.

One officer, bald, prominent hook nose, eyes Joe. Joe averts his gaze, keeps going as he pulls open the door to Lariat shipping. Interior. Lariat shipping. Night one. Were of power tools. Hists of a blowtorrch. It's busy even at this hour. Mechanics working on long haul trucks. A man points Joe to an office on the second floor. Joe passes another mechanic, 30s, muscled with prison tats. He glances at him and goes back to work. Interior. Lariat shipping office. Night one. Joe knocks on the halfopen door, then steps inside, sees a man facing the window.

Are you the manager, Mr. Warren? Don Warren, 50s, unshaven, doesn't turn. He's facing a bank of black and white surveillance monitors. One of them, he's he sees a Gestapo officer's questioning the man on the street. Yeah, I'm Joe Blake. So, I was told you have a job. And who told you that? Joe Blake. Joe smiles, polite, nervous. I I didn't get his name. Just this. Joe sets down the paper. Warren turns, sees it on his desk, studies the American Eagle symbol, then looks at Joe. So, this is what they send me now. How old are you? 28. 27.

27? What the hell you doing here, Joe Blake? I uh I want my country back. You want it back? You never had it. Sir, you were still sucking your thumb when they dropped the bomb. This crab hole is the only country you've ever known. My father told me what it was like before the war. I mean Joe takes out a Zippo lighter, ignites the paper. Your father, huh? He said every man was free. The paper consumed by flames. Warren drops it into an ashtray. How do I know you're not a spy? A spy? Warren taps a cig a German cigarette out of a pack. The resistance, what's left of it, is shot through with them. Half my friends are dead. Guess that's why they're down to kids like you. I'm not a spy.

Joe lights the cigarette. Breathes out a stream of smoke. You know what those brown shirts out there would do if they caught you? I'm not afraid to die. Huh? Me either. Might be kind of a relief, actually. But how do you feel about pain? Pain? Yeah. When they're plucking your fingernails out one by one or cracking your balls open like walnuts. That's when you maybe stop caring about your old what your old man said and tell Johnny Chuck put out there my name. just about anything else he wants. You're so afraid. Why are you here? I fought in the war, kid. I saw my buddy's brains get blown out on Virginia Beach. You You're just a punk who could get me caught.

Joe thinks after a beat. I guess I am afraid of pain. I don't have anybody's who died in the war and and I don't really know what freedom is, but I'm not a punk and I'm not a spy, Mr. Warren. I'm here because I want to do the right thing. So, you going to give me the job or not? Warren exhales smoke thinking. Uh, omitted. Internal herbal shop. Day one. Shelves lined with Chinese herbs and glass jars and boxes. Japanese foot traffic. Signage outside the shop window. A bell rings as Juliana enters. An old lady herbalist nods.

I need some gentian root and meadow sweet. The bell rings. Jewels. Juliana sees her halfsister, Trudy Walker, mid20s, hurrying in, breathless. I've been looking for you. No, for my mother. My mother has arthritis. Arthritis? One moment, please. The herbalist goes to the back room. Juliana turns to Trudy, surprised to see her. Trudy, you're back. Trudy always has a reckless bohemian air, but especially today. She looks over her shoulder as if expecting someone. I'm not staying. And don't tell mom. I don't want the guilt thing.

Where you been? I've been trying to reach you for weeks. Sorry. I had work out of town. You got a job? Trudy knows she's been flaky. Proud but insecure. Yeah, me. Can you believe it? Juliana tries to hide her skepticism. Of course I can. But what is it? Trudy senses her doubt. It stings, but she doesn't blame Juliana. Just tries to blow past it. I'll I'll explain later. I've I've got to go. That's what you came to tell me? Hello and goodbye. Trudy stops and sigh. There's so much she'd like to say, but so little that she can. You've always looked after me, sis, but you don't need to anymore.

Juliana smiles, confused and a little worried. Oh, yeah. Why is that? I found the reason. She's excited. Thinks Juliana will understand what this means, but it only seems like more of Trudy's wacky talk. The reason for everything. Trudy pulls Juliana into a hug with deep emotion. Take care of yourself, sis. Trudy makes a quick smile and starts out, leaving Juliana even more concerned. Rudy, but now she's gone, and the herbalist has returned. Gent and me, six yen. She sets down the herbs neatly bundled in little brown paper wrapped packets. Juliana reluctantly takes out her money, her mind still on Trudy.

Interior Larat shipping night one. Tattooed mechanic bolts a tire on a car raised on a lift. the door. He turns, sees He turns, sees Warren outside his office, beckoning. Doc, the mechanic, Doc, wipes his hands on a rag. Interior Larry shipping office night one. Doc spreads flat a map across the desk. Joe leans in. It shows the United States divided into sectors. The Greater Nazi Reich occupies the country from the East through the Midwest. The Japanese Pacific states control the west. The Rocking Mountains acting as a neutral zone between doc traces a path from New York to Canyon City, Colorado. You'll take the auto van all the way across the rapping you canyon city.

That's a neutral zone. So he can read a map too. What am I going to do there? You wait. You wait. You wait. Your contact will approach you if and when he determines it's safe. And if he doesn't, then the Nazis are on to you. You're dead. Doc hands him an envelope. What's this, Ben? Serene, you get sleepy on the road. Pop some. No stopping. Joe looks at the little white pills inside. These why he calls you doc. This is fast. You can talk to me. You know I'm in the room. Doc smirks. Warren hands him a 45 caliber caliber revolver. Know how to use one of these? What do I need that for? Any luck? You don't. You know how to use it or not? Joe takes the gun, tucks it under his jacket. I've seen the movies. Point. Shoot.

Prelap. A trailer gate rattling shut. Then cut to interior. Lariat shipping. Night one. A semi-truck with a 16 ft trailer. Doc loss it as Warren walks Joe to the cab. What's my cargo? Good German copy makers. Joe, what's my cargo? No, the next one. Good German makers. That's not what I meant. Doc looks to Warren. You heard what curiosity did to the cat. Coffee makers. Now get going. Joe tosses his overnight bag into the cab of the truck, sits behind the wheel, turning over the engine. See you when I get back. H You'll never see us again. That's the way it works.

Take care, kid. Joe looks at Doc and Warren, sees their gruffness for what it is. Cover. A way of not getting too close. Underneath, it seems all these are good men. When whistles, garage doors rattle open, creapos stream in German Shepherd dogs barking. A raid. Some mechanics run, others raise hands in surrender. Doc pulls out a Walther PPK hidden in his waist, starts shooting. Warren shouts at Joe, "Drive. Go." Instead, Joe raises his gun, aims it at Warren, fires, but the bullet doesn't hit Warren. It hits the hook-nosed officer behind Warren, about to shoot him. He falls, blood smearing concrete.

Warren turns back to Joe. Get the hell out of here. Joe shifts in reverse. Tires screech. truck barreling away from us as Doc steps close in frame, shooting past camera, then turning. He and Warren running to the back as exterior larat shipping alley night one. Joe fishtails onto the road. Gustapo driving out of the way. Angle back alley. Warren and Doc burst out. Warren running one way, Doc the other. Gestapo follow, letting dogs off their leashes. Doc scrambles over a fence, escaping, but Warren runs, huffing and puffing for his life. Dogs gaining and then jumping on him, biting his arms and legs. Warren bleeding, helpless. Inside the truck, Joe looks in his rear view mirror, sees Lariat growing smaller behind him. He's lost the gestapo. He set he lets out a sigh as interior lariat shipping night one. An officer drags Warren, torn and bloody, back into the garage.

Oberg Gruff and Verah Smith. Hearing his name, John Smith, 40s, uh, brow creamed hair, turns to face us, tall with dark eyes and cold intelligence. His rank is German, but like all the Nazis here, Smith is Americanborn, speaks unacented English. He looks at Warren satisfied then turns to turns to an aid returning from the street. And the truck done. Interior apartment wh San Francisco evening one. That's Is it Vickiy's time now? Yep. Oh, sorry. Interior apartment San Francisco evening one. modest secondhand feel. Juliana is at the stove pouring tea made from the gention root she bought at the herbalist. Her mother, Anne Crane Walker, sits in the living room, a game show on TV. I've got a secret, a celebrity guest in Nazi uniform. Her stepfather, Arnold Walker, reads a paper, the headline about the Japanese crown prince's visit. Oh, those uniforms. I can stand a watch.

Um, John, I think that's you and I. So, change in then I won't find out his secrets. Here you go. What's this? It's from the herbalist. The herbalist and drinks a tea but still grumbles. Tea. Karate. It's not karate. It's iikido. I was first in class today. Ma, I don't know why you love that so much. Those people, they killed your father. Come on, Ma. Mr. Nakamura is one of the good guys. They marched my poor John to his death. Now his own daughter thinks they're the good guys. Exercise is good for her and after the accident and all. Your father's spinning in his grave. I tell you that this hurts Juliana, but she doesn't want to argue. You have to go. Go. You just got here.

Frank's waiting. I'll get your coat. By mama son. Anne purses her lips. Arnold goes to the door, holds up Juliana's coat. Juliana speaks out of earshot of her mother. I saw Trudy this afternoon. Where she disappeared to? She said she got some kind of job. Oh, brother, why can't my own daughter be more like you? Juliana feels defensiveness of her sister despite her own skepticism. Maybe because of it. You seem good, really. Arnold makes a don't hold your breath face. And then your mother has a point. You know about the Iikido.

Thought you were on my side. I'm always on your side. But the jobs make the rules, not us. And it doesn't look right. A white woman is studying yellow ways. This has nothing to do with race. Oh no. How many white people in your class? Juliana frowns and then goes. We cut to the exterior street. San Francisco evening. A cable car climbs up a hill. Japanese riceeroni. The San Francisco street advertised on the rear panel. The street is lightly trafficked with pedestrians. Into frame steps Trudy. A black satchel over her shoulder. She looks apprehensive as she stops. Surveills the scene. Japanese soldiers patrol nearby. Two Japanese men in suits loiter in an adjacent park smoking. The coast seems clear.

Gathering her nerve, Trudy heads towards the port. Huge cargo ships lit by mercury vapor lights. Men with bare chests unloading crates and containers. Resume. Trudy approaching. But as she does, the Japanese men start to calmly follow from a distance. Their secret police. The Japanese soldiers falling in line unseen by Trudy. Exterior of the port. Evening. A bearded man, 20s, thin, sees Trudy coming. He's been hauling crates, but now he stops, wipes his hands with a rag, moves inside one of the cargo holds. Trudy follows him.

Angle cargo hold. Dark lit by only a few bare bulbs. The bearded man quickly pulls out a shirt, buttons and tucks it in. Trudy enters. Randall. A bearded man. Randall goes to her, kisses her. You okay? Trudy nods, trying to be brave. I'm okay. He pulls out an identical black satchel hidden behind a crate, exchanges it with the one she's been holding. This is it. That's it. See you tomorrow. The words won't come. She's too scared. She manages a nod. I love you. You know that. I know. Better get going. Trudy takes the satchel, heads off.

Randall going the other way as we angle to the secret policeman. Enter the cargo hold. Find it empty. The man in charge wears wireframe glasses. Gives orders to the others in Japanese. As they split up, we angle to Trudy. Moves past the ships. A view of Alcatraz Island beyond. She sees Japanese soldiers coming after her. ducks out of view. Angle on the Japanese soldiers. They pass. Only after they're gone do we find Trudy hiding out of sight as she moves off in the other direction. Interior bar San Francisco night. Frankf Frick, 30s, nurses a beer, watching color TV showing the Crown Prince boarding an ocean liner in Tokyo.

As Juliana enters, Frank stands, kisses her to the bartender. Saki cocktail, where's Ed? He's coming. You all right? Fine. She's not. Frank can tell. What's the matter, Jules? Juliana thinks about denying it and then sigh. My mom. She says, "Dad's spinning in his grave because I'm studying the evil ways of the yellow man." And Arnold agrees with her. Of course he does. Iikido has nothing to do with the men who killed my father. It's so beautiful. It's the opposite of those men. Juliana's cocktail arrives. She sigh. I I can't believe how screwed up the world is. It was ever though.

And ever thus. Oh, it was. Let me start that probably again. Was ever thus. And ever thus it shall be. I don't believe that. I don't believe you do either. I'm just a worker be doll. I don't know what to believe. You're an artist, Frank. A really good one. You should be making art. Yeah. Well, they won the war and they think modern arts degenerate. At least we have each other. Yeah. And what are we supposed to do with us? Well, now you're back on your feet. You can get a job and then get married, have kids. Juliana's smile face gently.

You really want to raise kids in a world like this? Somebody has to. If anyone found out your grandfather was a Jew. Frank nods, exhales. Well, didn't stop Laura. Juliana slides away her drink. I'm getting a headache. Mind if I go home? I'll go with you. You stay. Wait for Ed. She musters a smile, kisses him. He watches her go, but he's concerned. Exterior street, San Francisco night. Juliana bites her lip, lost in her own troubled thoughts, approaching the steps to her apartment when Juliana. She turns, sees Trudy running towards her. She's breathless, eyes frightened.

Trudy, I thought you were leaving. She presses the black satchel into her hands. Take this. What is it? Trudy looks over her shoulder. Get inside quick. Trudy, what is this? Trudy meets her eyes. Away out, then runs off. Juliana now sees the Japanese men and soldiers down the street, chasing Trudy. Juliana ducks back into her al cove out of their links of vision or line of vision. Stay. Stop. Trudy keeps sprinting as fast as she can rounds the corner as the Japanese men and the soldiers charge past Juliana. Angle on Trudy. Turns out this is a dead end. She No place for her to run or hide. She turns as one of the soldiers stops.

Raises his rifle. Terror in her eyes. We close on Juliana. steps out of the al cove, moving to follow, when blam, she hears a gunshot. Her heart rises in her throat, chest thumping hard. She runs around the corner, then stops, covers her mouth, stifling a cry, eyes wide with horror as the Japanese men approached Trudy's body lying in the middle of the street, a gaping bloody hole in the center of her back. The wireframe man rolls her over with his shoe. Trudy's eyes stare up at him, lifeless. The wireframe man scans the area, looking for something. Tursely giving orders to the soldiers. Angle on Juliana, looks from the wireframe man to the black satchel in her hands. Knows this is what he's looking for. As she turns, hurries back to her apartment.

shaking shakily keys her in her door. Interior Frank and Juliana's apartment night. Juliana bolts the door, reeling from shock, and then with trembling hands, she unsnaps the satchel. An object wrapped in torn sheets of manga comics. She rips them open, finds a reel of 16 mm film. At the center of the spool, someone has handwritten the words, "The grasshopper hopper lies heavy." Juliana stares, confused at what this means, what her sister was doing with it, and why it's worth dying for. We cut to the exterior Ottabon. Late night, a ribbon of high-speed traffic.

Headlights spoken into the and spoking into the rural night as Joe's semi grows close. Passing camera. Interior semi-truck. Late night. Joe behind the wheel. Turning from one news station to another on the radio, listening for a report on him. When a police siren, it sounds. Joe looks in his rearview mirror, sees red lights flashing, a police car gaining on him. Close on Joe, swallows, his heart rising in his throat. He takes his foot off the gas pedal, but doesn't break. Not certain yet whether the siren is for him. When the car the police car passes in pursuit of another vehicle, Joe lets out a ragged sigh and then clicks off the radio. We cut to the exterior Riker's Island late night. Rain pours down. A tugboat slices through the East River docks. Aber Grin Theodor Smith, the Gestapo officer from the raid exits, flanked by an aid. The aid holds an umbrella, but Smith walks through the

rain toward the massive jail complex, ringed by razor wire. Interior Riker's Island late night close on black leather boots. Smith moving down a long dark hall. Guards stand at attention, giving the Nazi salute. We cut to the interior Riker's Island cell. Late night, Don Warren hangs from the ceiling in chains, wrists tied behind his back. He is shirtless, a guard beating his chest with a stick wrapped in barbed wire. The guard stops, seeing Smith enter, Smith examines Warren's injuries, face bruised and cut, his chest a mass of bloody wounds. Smith reaches for a dirty rag, dips it in a bucket. He squeezes some water into Warren's mouth, who laps it up. There, there, that better. He gently wipes some of the blood off Warren's face.

You are a mess, Mr. Warren. This will end badly for you. Didn't start too good. Where was the truck headed? Alabama. Alabama. Smith looks to an aid. sharing annoying look. Birmingham, I told your friend here and the cargo. Coffee makers. Smith smiles. Your men shoot at us to keep us from intercepting coffee makers. They're stolen. He didn't want to go to jail. You're the resistance leader for East New York, Mr. Warren. We've known it for about a month now. Ever since we intercepted one of these. Smith produces a paper. Then um the printed American Eagle on it. This is the symbol of your movement, is it not? Warren says nothing, but his silence confirms it. We know where that truck was headed and what it was carrying. You know so much.

What do you want with me? But Smith, he just nods to the guard. He can resume his torture. Seeing Smith start to leave. What do you want? Smith walks out of the room down the hall. Warren shouting after him as we hear the beating resume. What do you want? We cut to the interior. Frank and Juliana's apartment night. A closet opens. Juliana searches behind the clothes, finds several cans of home movies, old cartoons, then a heavy case. She unsnaps it, revealing a 16 mm projector. Juliana threads Trudy's reel of film through the sprockets and then pulls down a window shade, switches on the projector, and the beam of light catching dust moes floating in the air.

In the room, silent except for the wor of the projector. We see scratchy film leader. But before the film proper begins, we go close on Juliana. Shadows play across her face. She stares confused and disturbed. Interior bar night. Frank sits it as Ed McCarthy, 30s. That's Simons. You see that brown? wasting beer. Uh, okay. Interior bar night one. Frank sits as Ed McCarthy, 30s, glasses, enters, sorry, enters, points to colored footage of Hitler greeting smiling children on TV. If you see that prank waste what Mr. Hitler's right hand. What about it?

It's in his pocket. You know why? So I can play with his balls cuz nobody else will. The old bastard's got Parkinson's. His hand shakes like [ __ ] How much longer you think he's got? The phone behind the bar rings. The bartender answers. I don't know. a year, six months tops. Then go or him takes over and this time they won't just flatten DC with the H bomb. They'll wipe out the wall west coast boom. Is your name Frank? Yeah. Then this is for you. Hello. Oh, bloody hell. I forgot to He sets the phone down on a bar.

Goes off. Frank knows this can't be good news if someone is tracking down here. Hello. Interior. Juliana's apartment. Night one. Juliana speaking in an urgent whisper. Is that there? Yeah. Don't tell him where you're going. Just come home now. What is it? I'll tell you when you get here. Ed's beer comes. Frank hangs up, thinking, reading his face. Something wrong? I've got to go. You [ __ ] me. I just got here. Frank, go ahead. Go ahead. Sorry. Frank leaves some yen notes. See your work. Frank hurries out. Ed shaking his head, exasperated as he sips his beer. Prelap knocking. Interior. Juliana's apartment.

Night one. Juliana unchains the door, seeing the worry in her eyes. Jules, what? Juliana closes and chains the door, crossing to the projector. The lights, I want you to watch something. Okay. Frank flicks the switch. The room going dark. Juliana turns on the projector. Frank watching. Silent black and white footage from World War II, but very different from the color film we saw in the Nazi news reel. American troops land on D-Day. The Allies liberate Paris. Berlin lies in ruins. GI's cheering, kissing girls in Time Square, celebrating VE Day.

What is this newsre film? Yeah, I see that. It shows us winning the war. But we didn't win the war. That's what they told us. She has a defiant edge. But Frank looks back at the film. Jesus. I know what this is. What? The man in the high castle. The who? The man in the high castle. I don't know why they call him that, but Ed told me all about him. He makes these anti-fascist movies. Makes them gis in Time Square. I know. They look real. look real. They are real, Frank. But they can't be, can they? Juliana has no explanation as the film runs out. It's tall. Oh, its tail flapping wildly. Frank clicks off the projector.

Listen, whatever these films are, Ed said Hitler himself is obsessed with drawing them. Why if they're just stupid movies? Point is, possessing them is treason, punishable by death. How did you get them? Juliana looks down, then quiet. Trudy gave them to me. Trudy, what's she doing with this? I don't know. She's dead. What? They shot her on the street. The enormity of it lands on Frank. He stands stunned, then takes Juliana in his arms, kisses the top of her head. I'm so sorry. Frank pulls back, meets her eyes, tender but empathetic or but empathic.

You have to go to the police. The police are the ones who shot her. You have to stay. Say you weren't close. She was only your half sister. No. No. You didn't know what she gave you. You're a loyal subject and will cooperate fully. You need time for this, Frank? They have to think you know nothing about this or they will kill you. They'll kill you, too. You think Trudy would want that? Off. Juliana. Interior semi-truck moving late night one. Joe rubs his eyes driving then sees a makeshift checkpoint on the autobon up ahead. Nazi officers with dogs searching all vehicles. Joe thinks then turns on his blinker.

Exiting. Cut to SCS 29. Oh, that's the page notes. Interior exterior semi-truck roadside. Late night one. Joe's pulled to a stop on the shoulder. His He keys open the trailer gate, finding it's stacked high with cardboard boxes. Trailer. Joe snicks on a flashlight, cuts open one of the boxes. It's full of German coffee makers, just as Don Warren said. He edges through the boxes, shining his flashlight on the floor, the ceiling, looking for something. He sigh, frustrated, then spots a lowrise creeper dolly undercarriage.

Joe wheels himself underneath on the dolly, inspecting the undercarriage, tapping on pipes, still finding nothing when he notices masking tape stuck in a rectangle. He peels back the tape, revealing a metal compartment screwed shut underneath. Joe sets down the flashlight, takes an army knife from his pocket, opening the compartment, finding a manila envelope. cab. Joe sits behind the wheel, unclasps the envelope wrapped in Nazi newspapers, he finds a roll of 16 mm film, not identical, but similar to Juliana's, but like hers, someone has written, "The grasshopper lies heavy on it." Joe stares at it, thinking. Exterior checkpoint, late night one. Joe rolls to a stop, takes travel permits from the glove box, waiting while officers search, masking his anxiety. Cut to exterior Nazi embassy San Francisco.

All right. Exterior Nazi embassy San Francisco. Day two. The Federal Reserve building foned with Nazi banners. A plaque identifies the embassy of the Greater Nazi Reich. Interior Nazi embassy day two. A highse ceiling room a heroic style portrait of Hitler. Hugo Rice 40s trim is the Nazi ambassador. He and his aid assets officer Kurt Sha 30s in conference with Tomai 50s head of the Japanese trade mission and his associate Kimakishi 30s thin. Both Tigi and Kodomichi immaculately dress in tailored suits. They stand over blueprints, tiny plastic figures representing Nazi officers and members of the Japanese delegation.

And then I will escort the crown prince and princess into this room where we will take tea. Domei frowns, looks to Kotichi. Ree shares a look with Sh. Is there a problem, Mr. Takcomi? We're very sorry, but the furniture in this room, it is not appropriate for the crown prince and princess. Great minister, I assure you, these are very fine pieces, the same as the furer has in Berlin. Toumi bites his lip. Deeply embarrassed, Ree privately gives Scouch another what the f look. We are happy to replace it, of course, if you'll send us information on the proper pieces. To me is relieved. Yes. Thank you.

Thank you, Ambassador. These are excellent plans. We're deeply honored to receive the crown prince and princess as guests here at the embassy. It is a an harmonious expression of the friendship between German and Japan peoples. Indeed, an awkward moment. Toi and Kotichi bow. The two Nazis reply with salutes after the Japanese have gone. The hell was that about? The furniture doesn't have chi. Chi? One of the five great elements. It comes from the Chinese and they believe there's a spirit in things bringing good or bad luck. Superstitious slanted crap.

I don't understand why the furer allowed these people to rule half the continent. are allowed, but for how much longer? Reys smiles. Exterior Nazi embassy day two. Took me and Kottoi walk down steps to a waiting Mercedes limousine.

The Nazi ambassador has disdain. He only understands a world he can see. You seem troubled to minister. It is a time of great uncertainty, Mr. Kottoichi. The furer is said to be very ill. Surely his successor will continue a policy of peaceful coopetation. I consulted the oracle. The reply was the 12th pentagram. Danger. Pay attention. Tigami nods, climbs in the limousine as Cottoichi follows, troubled now as well. Interior. Frank and Juliana's apartment bedroom. Day two. Frank knots his neck tie then stops staring at a drafting table in the corner scattered with painted canvases, pastel sketches, and various art supplies. Frank goes to the table, fishes out some handdrawn jewelry designs. He thinks for a beat, then picks up the designs, stuffs them into a green portfolio. Interior. Frank and Juliana's apartment kitchen. Day two. Juliana sits at the table staring at Trudy's satchel.

After a moment, she picks it up, searches inside, finds an envelope. She pulls out the paper inside as Frank enters. You asleep? What's that? A ticket for the 10:30 bus. Canon City, Colorado. Trudy told me she was going out of town. On the back, she wrote something. What does it say? It's in pencil. It's kind of smudged. Looks like Sunrise Diner. 12 Well, 5 minutes after 12, I guess. Maybe she was supposed to take the phone there. She told me she got a job. Never would have pegged Trudy as a resistance fighter. Come on. What?

I'll take you to the police station. You're not coming with me. Why not? The last thing you need is trouble with the police, Frank. The less we make of this, the better. I still think I should go. Not a chance. I'll take it. Then I'll go tell mom what happened. And Arnold, I'm so sorry, Jules. Juliana looks at him, emotion arising. I don't know what I would have done without you, Frank, after the accident. You picked me up, literally put me on my feet. Nobody could keep you down for long, Jules. Not even a bus. I just happen to be standing there. She kisses him. Frank makes a crooked smile.

You call me. Okay, I will. See you tonight. Juliana smiles. Nods. Yeah. Frank goes. Juliana stands in the empty apartment a moment, her brave face melting away now that he's left. Then she turns, picks up the satchel, stuffing the ticket back inside. Cut to bedroom. Dresser drawers opened, emptied, clothes dumped in an overnight bag. Toilet toiletries cleared from a shelf tumbling in the bag. Juliana snaps it closed, swings the medicine cabinet shut, then catches sight of her face in the mirror. She stares, reflecting on what she's doing, then brings her fingers to the pendant at her neck. She unclasps it, kisses it like a cross. Close the pendant as Juliana sets it down on the dresser, exits the room. Katu interior Frank and Juliana's apartment. Juliana heads to the door.

satchel and overnight bag in hand. When she stops, another thought occurring to her. Cut to the closet door is opened. Juliana kneels, opens the cans of old movies, finds a Popeye cartoon. She takes the film out of its can, tucks it under her coat as she closes the door. Cut to exterior Frank and Juliana's apartment. Juliana steps outside, then stops, surprised to see Donnie, a teenager from Aikido, coming up her steps. Donnie, Miss Gla, you said te this morning. Yes, of course. Donny's eyes drift to her open satchel.

The film reel mark the grasshopper lives lies heavy plainly visible. Juliana quickly clutches it closed. I I'm so sorry. I I forgot to have I I have an appointment. Can we do this another time? Johnny looks worried. Does he know what the film means? Yes. Okay. Thanks, Donnie. Juliana hurries away, but Donnie lingers, looking after her, his face unreadable. Interior semi-truck day two. How much is that doggy in the window on the radio? Royal countryside flies by outside the window. Joe's been driving all night. His eyes tired. He needs a shave when kabam. A tire blows out. Joe, suddenly alerts, grips the wheel, swerves, the rig nearly sliding into a covert before Joe manages to regain control. Skid to a stop. Exit autobond. Day two. Joe climbs from the cab, sees the rear tire blown to shreds. Oh [ __ ] He looks at the nothingness around. Joe looks for to fix the tire.

when the sound of a car pulling to a stop. As he turns, a Nazi police car has rolled to a stop behind the truck. A uniform police officer 40 gets out, looks at the blown tire, seeing Joe climb down from the payload. Blow out, huh? Yep. No two. Not good. I've got one in the trunk. Let me give you a hand. Thanks. I I really appreciate that. The police officer heads back to his car. As he does, Joe looks towards the cab of his truck. He's left the envelope with the 16 mm film on the seat in plain sight. Exterior autobon. Day two. The truck jacked up. The officer tightens the spare tire. On his arm, Joe notices a military cell tattoo. A dagger through a rose. He finishes dust himself off.

There you go. Thanks a lot. There's no diners for another 5 hours or so. Why pack an extra sandwich if you're hungry? You don't mind? Not at all. I'm going to need to see your transit papers. Sorry. Sure, no problem. While the officer head back heads back to his squad card, Joe climbs in the c grabs his transit papers from the glove box, then quickly tucks the envelope with the film reel under the seat. He steps back onto the road as the officer returns. Joe exchanges the transit papers for a sandwich and wax paper.

Egg salad. Hope that's okay. Oh, great. The officer inspects the papers, writing particulars in a pad. This your first long owl. How'd you know? Not having a tool kit. That's a pretty vooky mistake. Joe takes a bite of his sandwich. Guess so. It's my first time out of New York. Actually, first time seeing the country. Well, here it is. You mind I ask the tattoo on on your arm? A soldier Sophi did he killed a was that was you? Long time ago but we lost didn't we? Now I can't remember what we fought for. Your dad a bet. Yeah. He must be proud.

Fine young man like you. We're not really close. But me getting this job, it was pretty important to him. Joe notices some fine flaky particles floating in the air. What's that? The officer looks up, sees them, too. The hospital. The hospital. Tuesdays they born cripples determinally terminally ill drag on the state you know the officer hands back the transit papers have a safe whip son make your old man vow he heads back to his squad car but Joe stares at the flexcks of gray ash in the sky thousands of them some cling to the bread on his sandwich he can't Eat. Cut to exterior street. Transbade bus terminal. Day two. Juliana stops, takes the ticket out of Trudy satchel, looks up at the art deco feticade of the transbade bus terminal. And that's section. Yep. Oh, is it? Okay, great.

Yeah. All right. And here transpay bus terminal day two. Juliana moves through the terminal crowded with people noticing uniform Japanese police officers. Some are posted near the department state uh department gates. Others question passengers. She grips the satchel close to her chest. Can I help you, miss? She's nearly walked into a Japanese officer. I'm just then Hey, there you are. Juliana turns, sees Randall. Juliana covers her surprise, mindful of the officer as he takes her by the elbow. You I gave to the I gave to that sel your cing. Where is she? Dead. They shot her last night.

Oh Jesus. Randall looks like he's been punched in the stomach. Tries to maintain composure. You're the one who got her into this? I suppose so. Who are you? Her sister Juliana. Give me the film. Juliana, I'm going in her place. They're expecting Trudy, not you. I'll say I'm her. No. too dangerous. So that's it. She dies for nothing. Not nothing. She died doing the right thing. The right things. You got to be [ __ ] kidding. What do I do when I get there? Randall sees the Japanese officer moving towards them. He takes Juliana by the elbow, leads her towards the bus.

You wait. I wait. They'll come to you if it's safe. They've reached the bus door, but there's something Juliana still wants to know. This film, what does it mean? If I knew, I wouldn't tell you. That will have to do. Juliana starts up the steps. Randall walks past the Japanese officer, avoiding his gaze. Off of the officer, unsure whether to be suspicious. Exterior/ior bus day two. Juliana makes her way down the aisle. For the first time, we see the faces of blacks and Hispanics in nearly every seat. Middle-aged woman seated next to a large African-American man looks from Juliana sitting across the aisle out the window to Randall disappearing in the terminal.

The driver closes the accordion door, drives out of the station. Juliana looks out the window. She kidding me. Juliana looks out the window, clutching the satchel. In spite of it all, she's scared to death. She looks up, sees a plane streaking across the sky. Exterior San Francisco. Uh, a Hiro Hirohito airfield. Day two. A German V90 rocket plane lands. Taxis. It looks much like a Concord SST skinned with Nachi swash swashikas angle the tarmac. Tagi and Kotoichi the trade officers wait as stairs are wheeled to the plane.

Passengers deplain among them. Victor Baines a a Swedish businessman 40s well-dressed toi and Kottoichi step forward to greet him. Mr. Baines I am noi Toi. Mr. Tagumi, very kind of you to meet me in person. Trade relations with Sweden are important to the Pacific States. My associate, Mr. Kottoichi. How was your flight, Mr. Baines? New York to San Francisco in under two hours. German technology is unparalleled. We Japanese cannot hope to compete. Technology is not not the measure of the great civilization. Tagami makes a small smile. Mr. Cottoi will see to your baggage, please.

Kotoichi goes off. That that I said that super weird. Sorry. Cotoi goes off. Tokomi indicates a Mercedes limousine interior. Mercedes limousine. Day two. Bane sits in the back across from Tokomi. Uh, sorry, Tomi. A plexig. I can't talk apparently. a plexiglass barrier between them and a chauffeur as the car starts moving. Forgive me, Captain, but I need to confirm your identity. Baines reaches for a wallet. Of course. He hands Tagi an SS document with his photo showing his true identity as Nutsy Captain Rudolph uh Veganar.

I have consulted the IQing. The oracle favors our meeting. Good to hear since both of our governments would execute us if they knew we were talking. The man you are to meet will arrive from Tokyo in two days time. He is traveling with the crown prince and princess. What news do you bring from Berlin? The further's health is poor. Gobles and Himler are jockeying for power. No, neither seeks peace. The Nazi state has the atomic bomb. And while they deny it in public, both men believe the partition of the Americas was a mistake. Then there will be war.

Once the bird dies without question, and the city will be one of the first eras from the map. What are you so gloomy about, Mr. Togome? You've said the oracle favors are meeting. Fate is fluid, Captain Veg. The destiny is in the hands of men. Exterior street day two. As a limousine drives past heading toward the city. Interior factory day two. A giant assembly line much like the ones we saw in the Nazi news reel. Machines stamp out metal parts hand assembled by workers. Among them we find Frank assembling replicas of old old 45 revolters across from Ed. does his job efficiently, but keeps looking up at the officers overlooking the floor.

Something is on his mind. What happened last night? Huh? The phone call at the bar. What was that about? Uh, nothing. Cover for me, will you? Okay, sure. Interior factory office day two. Windom Madson 50s small ponchy but vigorous works at his desk. He hears a knock on his door. Sees Frank. Mr. Madson. Yes. Frank. Uh, I'm just wondering, have you had a chance to look at the designs? You just gave them to me this morning, Frank. Right. And And as it happens, I have looked at them. They're quite beautiful. Thank you. But degenerate. Frank, you just said they're beautiful. How can jewelry be degenerate?

The Japs only want old timey stuff like those Colt 45s down there. Americana. No one's actually tried selling them jewelry. And no one's going to because no one wants to land in jail. Come on, Frank. Come back from Fairyland. You're a solid worker. You've got a solid job. Count your blessings. Uh, exterior rule autobound. Day two. The Greyhound bus wipes through the frame heading towards the Rockies. Interior bus moving. Day two. Juliana checks her watch, looks out the window. May I? She looks up, sees the middle-aged woman from before. Sure. She sits in the seat next to Juliana.

Guy next to me was snoring. I can never sleep on buses. Can you? Juliana looks over, sees the large Africanamean asleep. What brings you to the neutral zone? Just visiting a friend. You must have some interesting friends. I don't know what you mean. You see any other white girls on this bus? Look at them all, darling. Wrong color, wrong religion, wrong bedmate. If the Nazi catch him, poof, up in smoke they go. But the Japs are happy to let them scramble out of the Pacific states. hole up in the Rocky Mountains or run down to South America if they like it like the neutral zone.

Ever see those old westerns, the fur washes? It's like that. Lawless. Except for the marshall, of course. The marshall. This is your first time, isn't it? A Nazi agent hunts down enemies of the Reich and strings them up and burns them alive. Julian is horrified, but the woman goes on. Matter of fact, just about everybody in the neutral zone's got a gun and a secret. It's yours. Fear of flying. I'm in the import export business. Katie Owens. It's set as a prompt. Judy Walker. Juliana turns uncomfortable. There's a sign out the window. It reads in Japanese and English. Now leaving the Japanese Pacific States. A sign in German and English. You are now leaving the greater Nazi state. We are external. Nazi checkpoint. Day two. A line of cars and trucks approaching the gateway to the neutral zone. camera just to find Joe's semi approaching. Interior semi-truck day two. Joe looks at the checkpoint with dread. As he swallows,

starts to pull over. Prelap the ringing of the phone. Interior phone booth. Day two. Joe stands inside. Truck parked beyond. He listens to the phone ringing and ringing. Finally, he hangs up frustrated. As he retrieves, excuse me, as he retrieves his coin, heads back to his truck. And here Riker's Island cell day two. Aubber uh sorry group Smith enters finds Warren hanging from his chains. Badly beaten and unconscious. He turns to his aid. Where is this man's minder? I'll find him over group and the aid goes off leaving Smith alone with Warren. He inspects his wounds, gently lifts his head, seeing his eyes swollen shut, lip busted. The aid returns with the guard who gives a Nazi salute. Hitler, why was this man left unattended? The subject has lost consciousness. Over Group inferior, I can see that.

The god looks confused. Your orders were to flog this subject until he answered your questions. Over group and furer, the subject cannot wake up. Has he answered your questions? No. Over group and furer. Then your orders are to keep flogging him. The guard looks to the aid, but his eyes show nothing. You torture men, sergeant. You have a problem beating a man to death? No. overgroup and furer. Then do as you're told. Smith goes off with Sade. The guard looks to Warren reluctantly picks up the club with a barbed wire. Interior Riker's Island Hall. Day two. The aid Eric Ara walks at Smith's side.

You're smiling, Eric. The subject will die in captivity. That's correct. His body would only be so disfigured if he refused to talk. His friends in the resistant will conclude he told us nothing. They will conclude that we don't know that truck is heading to Canon City or what it's carrying. I have much to learn from you or group in Pu. Now it's Smith. He smiles. Cut two. Dear Frank and Juliana's apartment, night two. Frank enters, sets down the portfolio. Jules goes to the kitchen, follow opens the fridge, pulls a tap out of can of beer, takes swallow. Then Jules getting no answer, he walks across the room to the bedroom, finding it empty, too. But he notices the heart pendant on the dresser. Frank picks it up. Oh, Jesus.

Off Frank his rising concern. Interior bus night. Uh, night two. Juliana slumped against the glass asleep when her eyes flutter open. Open open. Noticing the bus has stopped. It's been parked for a while. Several people have moved down the aisle back towards their seats. Juliana sees Katie is no longer beside her. Then looks her POV through the window. Katie walks towards an African-American man in a rusted out old car. on her arm. On her arm, Juliana's black satchel. Close. Juliana, alarm rising in her throat. She taps the glass tried to draw Katie's attention. Insistent but not loud. She has to be careful and attract attention.

But Katie hears her tapping, looks at her, her expression passive. She had a role to play in the she had to play the role of chatty Kathy before, but she's really a thief and no longer tries to hide it. Juliana rises, struggling past the people going the other way, making it through the front. Just the driver closes the door. Wait. Bus is leaving. But I left something out there. Driver pulls open the accordion door. Go get it. But the bus is leaving. Juliana looks from the driver to outside the door. The car with Katie and the African-American man is driving off.

Juliana starts back towards her seat. The driver pulls close the door satisfied, puts the bus in gear. Angle Juliana sits, then pulls a reel of film from under her coat, wrapped in manga comics and labeled the grasshopper lies heavy. She lost all of her belongings, but she had the film the whole time. Exterior rule road night two. As the bus wipes past frame, driving on to the night. Katu exterior motel interior truck can pan city. Night two. Joe's truck pulls to a stop outside. The buzzing neon sign reflected in the windshield. He reaches for his overnight bag, pulls the envelope with the film reel from the steering column, stuffs it in his bag. Prelap. The sound of urgent knocking. Then interior. Frank and Juliana's apartment. Night two. Frank pulls on a robe. The knocking continues.

Coming. Frank goes to the people. Sees wire wireframe man stands outside with plain clothes man and two soldiers. Zoom. Frank. He swallows and then watches the door. Mr. Frank. Yes. Inspector Keo. In the wireframe man. Inspector Keo shows his ID. steps inside. The soldiers move past Frank began searching the place. What's going on? You cohabit this apartment with Miss Juliana Crane, do you not? Yes. Where is Miss Crane? I I don't know. She left early this morning at Kido practice. Aikido practice? The dojo on Mission Street.

Keto exchanges the look with the other man. Were you aware her her halfs sister, Miss Trudy Walker, was engaged in treasonous activity? I didn't really keep in touch with her. Neither did Juliana. The soldiers have finished their search. This is a national security matter, Mr. Frank. The penalties for perjury are severe. I'm telling the truth. I hope so. He lets himself out with the others. Frank leans against the shut door, relieved for now. Exterior street, early morning 3. A bus wipes frame, revealing Juliana standing on the sidewalk. A dusty main street. Welcome to Canon City sign arching across the road. The Sunrise Diner down the block. Interior Sunrise Diner. Early morning 3. Juliana finishes breakfast. She reaches for her purse to pay the check. Then she remembers her wallet is gone. She bites her lip. Looks a lanky barman 40s thinking. Angle on the barman. Toothpick in his mouth. Juliana approaches.

So sorry, but I can't pay for breakfast. The barman gives her a longsuffering look. You what? Someone stole my wallet. All my money. I'm really sorry. This ain't a charity lady. I know. I'm really embarrassed. How you going to pay me? I told you I can't. Wrong answer. How you going to pay me? Juliana looks at the window. A waitress wanted sign. I I guess I could work for it. He looks from the sign back to Juliana. You have any experience? I learned fast. He sigh. What's your name? Juliana hesitates. Then Trudy. Trudy Walker. All right, Trudy.

Grab yourself an apron. What? Right now? You got anything better to do? Prelap the sound of a phone ringing. Ring. Ring. Exterior. Sunrise diner. Early morning 3. Juliana looks at a pay phone, listening to it ring. Frank, I got to talk. Intercut. Uh, Jerry. Frank and Juliana's apartment. Early morning 3. Frank at the window, coffee in hand as he watches, conferring with a secret policeman on the sidewalk below. He listens to the phone ringing, moves toward it. They're tacking the line. Can't call me trolls. as he yanks the cord from the wall. Sunrise Diner day three. Uh Joe enters, walks past the counter, noticing a man with a lined face 50s, pouring over a book as he eats. Joe takes a seat in the booth. The barman gives a prompting look to Juliana still trying on the apron. She grabs a coffee pot and hurries to Joe's side.

Coffee. She smiles. He smiles and meets her eyes. Um Joe Vicki Vicki here. Yeah. Uh yes, please. Uh how many eggs you got back there? I don't know. Plenty. Good. Bring me a whole plateful. Over easy. Okay. And a bunch of bacon. Coming right up. He starts off stop she starts off stopped by. Hey, you ever been to New York? Never. Why? You look familiar. I could swear I've met you before. I can swear you haven't. Joe watches Juliana's figure as she walks off, attracted to her, then looks the lined mad, wondering if he's the man he's here to meet. Exterior Sunrise Diner. Day three.

Juliana steps outside. and surprised to find Joe waiting for her. You off work for now? Can I buy you a drink? From behind his back, he holds up two long necked beers. Still think I know you from somewhere? Off Juliana, wondering if this could be Trudy's contact. Cut to the exterior main street of Canon City. Day three. Juliana sits on a wall with Joe, beers in hand. You're not wearing a name tag. I'm Trudy. Trudy. Pleased to meet you, Joe. Joe offers his hand, playfully formal. As they shake, we cut to the exterior of Lariat shipping. Day three. An unmarked van lurches to a stop, engine idling.

Something is thrown on the sidewalk. The van screeches off. Doc steps out, turns over. Don Warren's disfigured corpse. How long you been in Canon City, Trudy? Just got here, as a matter of fact. How about you? I'm just passing through. That truck over there is mine. Exterior Street, San Francisco, day three. Randall hurries past Bleachers and Bunting in in place for the visit of the crown prince and princess. Sees Japanese police officers following him. passes Rudolph Vegner, who steps outside a hotel and lights up a cigarette, thinking, "Seem kind of young for a truck driver." My first run. I'll head back to New York after delivery. Juliana stares at Joe, trying to decide who he is. Into your office, San Francisco Day.

Tagi at his desk, throwing Yarrow stalks to consult the IQing. He looks at the divination, frowns. While Exterior Street, San Francisco, Day three, Randall rounds a corner to escape the officers. Runs right into more officers blocking his way off. Randall caught. You You weren't looking for anyone named Trudy, were you? No. This is just You really just wanted a beer? Yeah. Why is that so weird? Juliana shakes her head, disappointed. No, guess not. In your Frank and Juliana's apartment, day three. A knock on Frank's door. Frank opens and is roughly grabbed by soldiers, beaten and handcuffed, dragged outside. Joe remembers something. Looks at his watch. Ah, crud. What? I'll be right back. As he sets down his beer, Juliana watching him go, we cut back to the exterior of Frank and Juliana's apartment. Day three. Dhoni, the teenage boy from the dojo, stands beside Inspector Keo. Face bruised, he looks at

Frank with guilty eyes. He told Keo about the satchel Juliano is carrying. Frank is dragged inside the back of the van. Doors slam shut. Exterior diner. Day three. Joe in a phone booth listens to the phone ringing. Then connect. You're late. I tried calling before. I am relieved to hear your voice. Me too. You died pretty good back there. Interior Riker's Island Hall. Day three. The man on the other end turn of the line turns the camera. It's the bald hookfaced Gustapo officer. The man we saw Joe shoot and kill at the garage.

not dead after all. Thought maybe I used the wrong gun. The officer smiles and hands a phone to overgroup in fear of Smith. How was your journey? No one stopped me. Then your cover's intact. Our little show has persuaded the resistance you're one of them. I'll tell your father, Joe. I know he'll be proud. Thank you, Ober Grubenfer. I hope so. Hitler. Joe looks through the glass at Juliana waiting for him down on the street. Turns his face away. Hitler. End of episode. Joe's a spy. See, now we got to do part two now. We can't leave it in a bloody cliffhanger. Oh, bloody cliffhers.

You're kidding me. You said it's on Prime, right? Yeah, it's on Prime. All four seasons. Right on. There's only four seasons. I started watching it two weeks ago to study for it and now I'm on season. Well, that's thing will get you. And yet I still haven't uh re-watched Wicket or not Wicked. Willow. Willow. Thank you. Oh gosh, that brings back memories. Sorry. I I I thought of Warwick Davis and my brain immediately went to his first role as Wicked P. Warwick in The Return of Jedi. That's what I thought too. That's what I heard too.

Does anyone need a break before we jump in any discussion? Or obviously if you have to go, you can go, too. But it's totally fine. I don't know. I'm just thinking about all the different alternate universes. We step in as actors and how we should be really, you know, it's really exciting when we take on a character, we put ourselves in an alternate universe, and then when we take on a new character, we put ourselves in another alternate universe. Like some are intense, but you know, we learn how to adapt and that's what makes us good actors, our ability to adapt.

This alternate universe has some interesting alternate universe things in it, which I won't spoil, but um you watch as you go through it, it gets a little more interesting and well, the twist at the end. Has anybody ever seen The Spy starring Stash of Aaron Cohen? Actually, this makes me think of that where he has to take on a whole new identity to do some work. doesn't ring a bell. Yeah, it's very intense and it it actually is based on real life events. Yeah. So fascinating, but but it's there's a lot of heavy themes here. Really fascinating.

Everybody did a great job. Yes, you all did great. I noticed that we have a lurker here. Hello, Steve. Hi, Steve. Um, those of you who have not seen this before at all, um, thoughts so far on, uh, what you think is is happening here or might be might be happening, where is our script going to go? Anyone else? I I don't know yet, but I'm thinking about my personal life and the different alternate universes I've been thrown into because of life circumstances, and I don't know if I should bring that up or not, but I will since everybody's eyeing me.

Yeah. I'm like, what? Continue. Like I guess like in 2017 I ended up getting diagnosed with endometriosis. Before that I have a I had a plan of finding somebody, getting married, having kids, but all of a sudden, you know, endometriosis is a disease where you might not be able to have kids. And it's like, okay, plan blown straight to hell. And sorry, is that a bad word here? Um, plans plan blown straight to hell. Plan blown straight to hell. Shot straight into the alternative universe where nothing makes sense anymore. And you're pretty much staring at a whole new world and thinking, "Oh my god, where am I? I'm lost. I don't know what to do. And I have this whole life that I planned for and hoped for gone. And now I'm having to rebuild like these people.

They're in this strange world. They have to learn how to survive in circumstances they might not necessarily like but they're faced with and they have to make the best of it whether they like it or not. And like it was last year I said last year I had a very I found a lump in my neck. Oh man. They thought it was like I was told, "Oh, you've got this thyroid cancer." But then as time went on, I went through all the testing, they just they found it was a goiter and thank God, but the whole I might have cancer thoughts. It's like it's another alternative universe that you have to make the best of whether you like it or not.

And it's like these people, they're faced with an alternative universe that they're trying to fight and doing their best to fight, but they still have to make the best of things whether they like it or not. And it's very painful and you kind of lose bits of yourself that you thought you'd never lose and having to deal with some terrible things and then you learn about parts of yourselves and inner strength that you never thought you had and trying to become a new person that you never thought you'd become. And we'll see that in this if you watch the continuing episodes, each character does have to deal with unexpected things, but they not they won't all deal with them in the same way. Obviously, some bit more brave and some will be a bit more cowardly and some will be just a run of bad luck. Um, yes, everybody goes through a process of grief like who was I before all this happened and who am I now and what have

I lost? And holy hell, it hurts to lose these things, but they're gone. And what do I do now? Who am I now that they're gone? And how do I build a life? And how do I enjoy that life? Right? I mean it it very true to how you know you you look at people that they're thrown into these situations and these are character studies in a way of like if things were different how would people really react to those things I I found that that's what I found in this whole script is that even people like for instance Frank who's hiding as a Jew instead of being a resistant fighter he chose to stay with the resistance or not resistance he to stay with you know the system because he's like well I can as long as I'm not found out I can at least pretend in the system. And it's really interesting how you meet these people and they're met with these alternate situations and and it's supposed to say say you think that

you'll act a certain way in certain situations, but the truth is you you don't know how you'll act in these situations. This is how we can show you how people can act in those situations. So yeah. And you know, I think that's like I think that whole like how learning how to act, learning how to grow, that's probably why I found comfort in the creative arts, especially in acting, especially after I turned 30. Like I had done a little bit here and there when I was younger, but when I turned 30 and realized a door was closed, I started looking for doors that would open, especially acting because turning to creative arts and acting and being other characters and just being able to help tell stories that really just brought some comfort in how I and really just helped me to be able to face my new alternate universe. And it I just feel very much connected to the script.

I know that's a weird thing to say considering the subject matter, but it just makes me really understand that people can make the best of crazy situations and it's possible to find purpose even in the darkest of situations and find things to do. It may take a while before you really develop your life into a life that's comfortable or as comfortable as it can be given that you can't always control all your circumstances. But well, I think it's possible to find a way to live what we see that in Trudy in this film. You know, she tells her sister, right, that she's found the reason. I think that's what she said. you know, the the her meaning for for living, whereas it's obvious Juliana is still trying to develop her identity here. She's still searching for that. So, Shauna, you said Juliana. Do you want to talk to a bit about that or have you think her character might be because you said you

haven't seen this one before either, right? I I haven't seen this at all. And so I was reading in the comments where Simon said that that the back and forth uh with the lady on the bus was like really really good. And so I was like yes. But um I do I do feel like uh like Juliana is a bit naive and uh she is um she's she's maybe on a path to learning more about stepping into herself, but she has a ways to go with that cuz you know she's she's still very young and uh definitely definitely not um straight smart at all at this point. But uh I I think uh she's on a mission to find out like what why why happened to Trudy happened and why her sister her halfsister got into all of this and why it was worth dying for. So, uh, I I think it's it's a it's a really, um, really pivotal character and I'm very much interested in actually watching the series and Simons are doing that a lot, right? you've been watching

said up to season 3 now and you're playing a very interesting character in this one, Simon, because your character is uh or was an American citizen and now he's working um really high level up in the Nazi uh machine here. So, what did you think as you were playing him, Simon, or as and while you're watching this this uh uh I mean, he's a very cold man at work, but he cares a lot for his family. That's what I noticed from the show. Um, it's it's really tricky for me. I've never played cold yet c like like cool sinister before. So, I was sitting there going, "My god, I'm whispering. Am I saying this right?"

Yes. Yes. Torture that man. Torture him good. That's That's a hard Don't worry, sir. We're all mad down here. It's fine. Mhm. Um but yeah, surprisingly, I don't have a lot to say and I never shut up. Well, that's all right. Anyone else want to comment on Well, I just wonder what this person Juliana is going to do now that her ID is gone. Her ID stolen like she's having to lie about her name, her identity, and she has no way of proving that she's actually somebody else. So, if she ever is caught, which is likely, how's she going to prove that she's somebody else other than who they're looking for? Cuz they're obviously looking for this person and her ID is gone. There's no way to prove, hey, she's not this person that's wanted and in trouble and she has to live with her lie. She constructed this lie and she has to live with it. Like, I don't know. It almost reminds me of uh Garrick from Deep Space 9 for the

Trekies. Like, he makes these lies. He literally makes these lies and he has to learn to live with them. Even if people suspect they're not true, he has no way of proving the truth without making himself get into more trouble. He's such a funny character. He's just a simple tailor. Come on. Oh, that's BS. Let's just I won't say any more than that like that word cuz my mom might be watching and she might get mad. She doesn't like it when I use that language. Hello mother. Hello mom. your character, your character through at the beginning of the whole show playing Joe, right? I mean, he seems like his dad is a vet, his dad is an American citizen, Joe is signing up, right? He wants to join the resistance and it and it plays it nice and straight all the way through. And then we get to the end and we realize, oh my gosh, he's actually working with the Nazis. Did you see that coming? I did not see that

coming. And there's a good example of uh doing cold reads. I mean, I I was into the character. I knew who I was. No, I didn't. Did not see that. But you have to go with the flow. And I hope that I I didn't look surprised at myself. You did. Well, it actually reminded me of this episode. I'm I'm a big CSI geek. I don't know if any of you are like CSI New York. There's an episode where there's this um Jewish clock maker that's involved and all of a sudden he ends up being exposed as like this person who was in Hitler youth and who ended up being a murderer, someone who was in Hitler Youth and grew up to end up like doing some very bad things and hid as someone who masqueraded as someone who survived the camps. And it was just a very intense episode. And it really was. Ed Asner played the part and he played it very well. And um the actor that played his son and he was grown. He he was shocked. He had no idea that his

father was that. And and they were Jewish. They he did under being Jewish. And M. Taylor was actually Jewish. Gary played off of them very well. And oh, God bless them all. Like I I'm And everybody's staring at us like we're geeks. Oh my god. Nerds. And it ended like I I've seen the episode many times. The way it ends, you can't help but cry. I like Well, I Oh god. The the the thing that guy the the guy says at the end. Oh god. I'm sorry. Oh, is this this is CSI that you guys are talking about? CSI New York. We are we are big. Oh, God bless him. If if I could ever get to his level and work with him, that would be a blessing. A heaven on earth cuz he's so amazing with the work he does. Yeah. In Forest Gump and CSI New York, whatever else he's done for veterans, like he does he has a huge like charity organization for veterans.

He's amazing. Off topic. Yeah, sorry. Go ahead, Simon. I was going to say he used to be the guy that you'd see in the Disney World Epcot rocket ship ride. Oh, really? Yeah. He was the he was the launch commander be like, "Okay, guys, this is Houston. Get ready for launch." You're that CSI guy. Uh Gary Senise. Uh I actually first where I I saw Gary Senise was um on of Men, which is another very Yes. interesting character study of of characters and people. Um, so yeah, but this this uh this script was really heavy. It it really put a lot, you know. So all these characters, all these actors, they have to get character people who can do this character work because that's that's really hard. like like you were saying Heather or um Heather I you know it it even though there's alternate realities of things it's it's interesting you're how you know you you can't back away what I was I think I was saying this too

earlier it's like you can't back away from certain things that are comfortable because as actors we have to confront those I mean I've written writing I'm writing a a western script that takes place in the 1880s and it you get confronted with really uncomfortable things that you don't really want to dress because of that. And yet you to tell a story, any good story, you can't back away from those things. And it's great to see shows like Man and High Castle who are not afraid to back away from these things because if we ignore those things, we are we are destined to repeat them. So it's really great that we have the freedom and the liberty to absolutely go through these uncomfortable situations, these scenarios, you know, look at how people will react in them because that helps that informs us how we could very easily become those monsters of which we we want to fight against and it's worth and

that's what Man, the High Castle does that this was written in 2014 and it's four seasons long and if you presume a year per you know season or something that's 2014 to 2018 at least. So, it's not that far back in our past when this was made. Um although it's talking about, you know, a time period that is a little further back and um still in some people's memories. I mean, there are people still alive who went through World War II um um you know, and all the fallout that happened from that. But you know this modern sort of remake of it um it's an interesting topic that they picked you know for this time period um so especially given you know we we try to avoid talking modern politics on this channel but it's really impossible to do practically because everything we do is political I mean whether you choose to go shopping somewhere you know and you where you spend your dollars um and so

you know just it doesn't even have to be, you know, large big issues like racism and war and such. It could be smaller smaller issues, but you know, the fact that um any sort of creative endeavor has to be relevant to someone or it or it will fail as a show, right? So, if folks want to talk about, you know, the relevance of this film, um I would love to hear thoughts on that. Oh, I just um maybe someone heard from if John jump in here too. You're welcome to. Yeah, I just wanted to say that um the way that that this is written even though it was a cold read. It was very very easy to get into the scenes and into the characters and the way that the characters are actually feeling and responding which in the past that has been difficult for me to just be able to just jump into something like that. It was so intense that like at at one point like I was actually like holding back tears because the scene was just like so you

know but that's what I was supposed to do in this scene and that was so like freeing and easy because it just the the subject matter of it is something that can really touch different people easily And I love that about it. Do you know how we get through talking about difficult subjects or do you know the best way we can get through talking difficult subjects is if we talk about them with each other, the unity. Because if we just keep them to ourselves, if we keep our fear to ourselves, if we keep our concerns to ourselves and never find people that we can actually talk to about them, if we just keep everything to ourselves and let it bottle up, we're going to feel unsafe about everything in the world and think that we can never do anything or feel anything about them. But if we find people with like opinions and a fearlessness regarding discussion, like if we if we decide to sit together as

actors and be unafraid to perform and find commonality in performing and find joy in performing together and talking and sharing about these issues, then we'll have a safe space where we can actually find joy in each other and perform stories that might not otherwise get old. I suggested this read for tonight knowing it was the day after uh the Canada election. I thought that was fitting and also the times we're in that the world is in right now. I I thought it was also fitting for that. But especially knowing that we would all know who our prime minister is now. Oh yes. Oh yes.

Uh, I this does, you know, you were talking about DS9. Um, this kind of reminds me a little bit of a um of one of the it's a two-parter episode and it's called A Glimpse of the Past and I think I even put that up as one of the episodes. Maybe it's with Alexander Bell. That's called You mean I thought it was a Cisco and Julian and Dax go into the past in a sanctuary city. That is called past tense. Okay. Yes. In his past. Yes. And his name is Gabriel Bell. Yeah. Caleb. Sorry. Gabriel Bell. Apologies. It's okay. I'm a geek. No. No. Usually I am too. I'm usually always uh I'm always like correcting other people. So it's really funny. It's one of my favorite episodes. It's one of mine, too. I actually have like, you know, Gabriel Bell for president. It's a crazy episode. It's it's amazing and it's so uh it's funny because I watched it in 2018 for the first time and because I had missed DS9. Uh I watched so much of

Voyager and all the others, but DS9 is one that I had actually missed. I'd only seen a few episodes including one of my favorites was Far Beyond Our Stars, but God bless you. It takes place4 as well, but it takes place in 2024 and it's so in some ways so close to reality it's scary that they wrote that in 1994. The housing crisis and all that. Oh my gosh. Sanctuary sanctuary cities, all of those things and the nature of forgetting to care, right? It's but there's so much that goes on in that that it's it's just to me it's just like wild. But this this reminds me a lot um in in many ways of that same structure of a story where it's very heavy themes. I mean, I think DS9's a little more I don't say cleaned up, but I mean like it's a lot less it's darker.

Uh, man in a high castle or talk about man is dark because it's dark compared to previous entries. Well, no, no, I'm not talking about deepstein. I'm talking about that episode versus man in the high castle. I'm talking about the diff the I'm juxtaposing the two against each other. They're very similar, but there's a few things that I think that Deep Space 9 mostly because of the of like the different um constraints they had at the time made did what they could, but they had to kind of clean up some of the themes, but they they're very reminiscent of each other of each other.

A lot of deep the the episodes themes are all um what's that word I want to say? Sorry, I'm having a brain fart of the word. They're all like intro. They're not they're sub they're not um as in your face. They're they're a lot more nuanced and yeah, I would say that I mean yes, there are in your face, but have you ever seen Just a sec. Have you ever seen The City on the Edge of the forever from Star Trek the original series? I have I have the I have the Do you remember Do you remember when Spock showed Kirk the alternate universe when Hitler won the Second World? I don't I don't think that it's I think it's Yeah, there was an episode like that. If people haven't seen it, I recommend you watch it.

TS differently because one character doesn't die when they're supposed to, right? Yeah. and she helps win the war for for uh Nazi. Yes, I I remember that that actually very well. Um it's a great episode. I I love Star Trek for that reason. I'm a big truckie. I mean, some of the names are, but no, no, no. What I was saying is like juxtaposed, it's a the themes are very very similar. That's what I was trying to get at. This in some ways of the character studies is much more realis realistic real more in your face. the the the themes are much more are much more um not as hidden. They're not as under understated. The themes are there in Deep Space 9's episode, but because of the safety constraint or the the TV constraints, they had they had to put a lot of that as like under undertones.

Sorry, the undertone is the similar, but the and the overtones are different because of the way that the people have to do that. So, that's that that was my whole thing with that. I'm sorry if I that got a little long-winded. No, that's okay. I have ADHD and it just pops everywhere. So, play me. Me, too. So, you've got sanctuary cities. Um, and you've got in in the DS9 episode, you have sanctuary cities, and you got folks going back to the past trying to uh in that particular episode, there is a key character who manages to get the sanctuary cities so that it's not just like crowd all these people here and have all these people here. they've um managed to restore back into more more equal situations as opposed to well if it were only that easy it wouldn't be a two-parter episode but we won't go into details right so of course here we've got two different parts of the country in San Francisco and the whole west

coast and the whole east coast area and um having to have characters very much very it's it does not look far you know you can't just rely on one person to change everything. Um, you know, and start a movement. Um, this as opposed to that one simple simpler version in the Star Trek. Oh, oh, oh, oh, oh. Can I just bring up another piece of Star Trek? I don't know if half of you have seen related to this. Yes, Heather. If it's related to Yes. Yes. Yes. Yes. Yes. I swear to God it is. Literally rewatching Picard with my kid. Yes. Peard. Do you remember season two when they went back to the past? We're on that season right now.

Yes. remember like I don't know but there will be a time where they will go back to the past and they will there will be a singular person whose impact on the past will bring them the future that they have. You will see it. Yeah. What's what's her name? Uh Renee Peard. No. Yes. Yes. There are several episodes like that. Key moment and the key moment in High Castle of course is the losing of World War II. Um right. probably not just a single moment but um it does make you know it does beg the question too though is how the war ended and because they never talk about that in this particular episode is you know how do they manage to divide Germany get this side and Japan gets this side and nobody takes the middle you know that's one of those questions that maybe gets answered later on in the series but um that's one I was wondering is how do they manage to get it you know because because the whole distance

across the ocean too makes a lot of logistical questions rise up. Aubrey, um I also have a interesting like with the fil the film reels and such too. I know that's probably going to play a very key thing in the as the show goes on as well obviously, but it's like how did they get those reels? How did that all come to be and happen and and why is it so parallel to our world? It's really fascinating. Very good question. And it does play out later on as to why we have footage that we ourselves might recognize that the characters in the script do not. It's almost like a Mandela effect for them. Mhm. Because it's showing, you know, how how it really was for us, but they're hold something completely different. I really like who they cast as the man in the high castle, too. I haven't got that far in the series. Okay. Okay, I won't say who it is, but yeah, that film the film is definitely the films, I should say,

is definitely a key part of the whole premise behind this show. It's not just an alternate reality. What could happen if if uh German, you know what, you you asked a question earlier about why why they how they divided it. Maybe like the Germans and the Japanese realized, hey, if we just blow each other up and wreck each other, we're going to have nothing left. So why don't we come to an agreement and just lay our superpowers aside and rule together cuz ruling held together is better than having nothing at all. You can tell from the part where the the Germans and the Japanese are meeting together in office, you know that the Germans are letting the in their minds letting the Japanese have the West Coast for now. Well, it's sort of like I don't know if any of you know about if you've watched the conver con parts of toos, it's like it's better to kind of rule in hell than serve in heaven type of thing.

But I don't think the Japanese realize that Hitler's literally letting them serve in his heaven instead of rule in hell. Maybe. Maybe. Now keep in mind that the Japanese side and I have to is they're not um portray you know you can't portray it all as one um what's the word looking for unified front you know even within the even within the German and Nazi side there's people who are not necessarily agreeing on face to face and everything when we see here to right the the trade minister um you know he's getting ready for the crown princess and then we see Keo the inspector um the wireframed man right a very very different takes toward um what they believe their government is doing in in uh this occupation and that'll play out later too. So, well, it just seemed Sorry. I I think that the Japanese I think they're both playing their own games of war because the Japanese feel like they're entitled to a

certain part. The [ __ ] and they I don't I get the sense that they also know that they're kind of on a um a precipice. Yeah. They're on rocky surfaces with the German. You can see that the tension is there. Absolutely. And so yet they they feel knowing knowing the Japanese culture, I get that they're like, "We're just going to play to them as much as we can because saving face is everything. I will show you as much honor as I can even if I don't agree with it because I'm going to play that lawn game because that's just the Japanese. That's how they are. If I have to deal with this, I will deal with it as long as I can." Um, and I'm saying this from someone who studied the culture who who has, you know, who's speak Japanese and all that.

Um, and it it Thank you. I I appreciate like being I appreciate that. Um, because if I'm completely off, I absolutely tell me. Uh, but what I do get is that they also know that their their days are numbered because they know what the Germans did. They know that and at any point if they did not help them in the war that they could easily just become there. So that's that's kind of what I got. So they're biting their time until they can do what you know they plan to do. So that's my whole thing on that. Anyway, other thank you for my TED talk.

Yeah. Thanks for coming to my TED talk everybody. Hey, um see Simon, you're not the only one who can't shut up. Who? Where? Me? Yes. Yeah. So coming up um we'll have and Heather I'll get to your question just a sec. So coming up um not next week we'll take a break for a week and then um the week after that we actually have a film coming up and I think if if I looked at the votes correctly the winner of the poll was Dead Poet Society yes that's a Robin Williams film of course. Oh God bless him. set in an old um boarding school, a very proper young men who he wants to inspire a little bit of critical thinking skills in to put it mildly. So, and a very very uh emotional film at times. Um and uh so that'll be a fun one. We'll do it over two Tuesdays like we've been doing most of our films since. So, we'll do the first half um on May, what is that? Uh 12th, no 13th, I think. 13th and 20th. We'll do those

two. Um and then Heather, did you want to drop in some socials, as you say? Yeah, because I mean, if everybody wants to get to know each other, I'm okay with that. Okay. What did you have in mind? I'll just leave it in the chat. Okay. Um All right. Um other thoughts before we head out for the evening? Yeah, it's it's quarter past midnight here. Yeah, late. It was a really long episode. It was like if you want to see more of our stuff, you can find us on our socials. I guess if we wanted to promote ourselves, we could. Probably not, though. We're tired, right? I think we we are we that's why we do it in the beginning when we're not tired. Yes.

Yeah. Yes. I am going to say ado. Yes. to you and you and you. Yeah. Follow me. You beat me to it. Not. Thank you very much for joining us tonight. Live long and prosper everyone. Peace and long life. Good night and have fun storming that castle you all. Yes. Good night everyone. It's a P day for the kids tomorrow, so I get to sleep in. What? Yes. All right.

Questions about this episode

Who speaks in "The Man in the High Castle - Pilot - Table Read"?

Vicki Dykes (Guest), Aubrey McCoy (Guest), Simon Squire (Guest), Heather Lee Cameron (Guest), Shauna Taft (Guest), Dan Claris Gomez (Guest), Cat Wilson (Host).

What is "The Man in the High Castle - Pilot - Table Read" about?

The content features a table read of the pilot episode of "The Man in the High Castle," with participants introducing themselves and their roles in the reading. Each reader shares their background, roles, and social media handles, setting the stage for the dramatic reading of the script.

What is mentioned in this Table Read Tuesdays episode?

22 people, works and ideas are mentioned, including World War II, Joe Blake, Juliana Crane, Gestapo, Trudy Walker, The Man in the High Castle. Each one on this page links to its own page with every episode that mentions it.

How long is "The Man in the High Castle - Pilot - Table Read"?

The episode runs 2 h 9 min; the transcript is about 17,598 words in 138 timestamped sections.

More from Table Read Tuesdays

About this transcript: the episode's spoken words as captioned on YouTube, split into timestamped sections. Reclip.Me locates every person, work and idea in the text, keeps the time it is first named, and quotes the words around it verbatim. Last updated January 24, 2026.