Apt Pupil
by
Brandon Boyce
Based on the novel by:
Stephen King
PRODUCTION DRAFT #4A
4/25/96 rev.
FADE IN:
Through the window of a moving vehicle, we see a series of
small, middle-class houses. This could be any suburban street
in America.
INT. CITY BUS - DAY
A boy is seated near the back of a moving bus. This is TODD
BOWDEN, 15, as All-American as they come. He stares out at the
other passengers indifferently. Then something catches his eye.
EXT. RESIDENTIAL STREET - SANTO DONATO - DAY
TITLE: SANTO DONATO, CA FEBRUARY 1984
Todd pedals his bike down a quiet street and pulls up to an
unassuming bungalow set far back on its lot. This is the kind
of house one would hardly notice driving through the peaceful
suburban community of Santo Donato. Todd gets off his bike and
heads up the front steps. On the way, he bends down to pick up
the L.A. Times.
Two signs, in laminated plastic, are secured neatly above the
door bell. The first reads: "ARTHUR DENKER". The second reads:
"NO SOLICITORS, NO PEDDLERS, NO SALESMEN".
Todd RINGS the bell. Nothing. He looks at his watch. It is
twelve past ten. He RINGS again, this time longer. Still
nothing. Finally, Todd leans on the tiny button, staring at his
watch as he does so. After more than a minute of SOLID RINGING,
a voice is heard from within.
DUSSANDER (O.S.)
All right. All right. I'm coming. Let it
go!
Todd lets go as a chain behind the heavy door starts to rattle.
Then it opens. An old man stands behind the screen. He is KURT
DUSSANDER, a.k.a. Arthur Denker. Mid-seventies. Standing there
in his bathrobe and slippers, a cigarette smashed in his mouth,
he looks like a cross between Boris Karloff and Albert Einstein.
Dussander stares at Todd, who tries to speak, but suddenly
cannot.
DUSSANDER
(continuing)
A boy. I don't need anything, boy. Can't
you read? I thought all American boys could
read. Don't be a nuisance, now. Good day.
The door begins to close. Todd waits till the last moment
before speaking.
TODD
Don't forget your paper, Mr. Dussander.
The door stops. Dussander opens it slowly. He unlatches the
screen and slips his fingers around the paper. Todd does not
let go.
DUSSANDER
Give me my newspaper.
TODD
Sure thing, Mr. Dussander.
Dussander snatches the paper away and closes the screen door.
Quickly, almost imperceptibly, the old man's eyes survey the
area: across the street, up and down the sidewalk, the boy's
bicycle.
DUSSANDER
My name is Denker. See?
(pointing)
Denker. Perhaps you cannot read after all.
What a pity. Good day.
As the front door closes, Todd speaks rapidly into the narrowing gap.
TODD
Bergen-Belsen, January '43 to June '43.
Auschwitz, June '43 to June '44. Then you
went to Patin.
The door stops, still partly open.
TODD (CONT'D)
After the war, you escaped to Buenos Aires.
From 1950 to '52 you were in Cuba, and
then... From 1952 to '58... I don't know. No
one does. But in 1965, you popped up in West
Berlin, where they almost got you.
The door opens wider.
DUSSANDER
Listen, boy. I don't know what is the matter
with you. But I don't have time for this
game. Now, get out of here before I call the
police.
TODD
Call them if you want.
DUSSANDER
Fine.
The heavy door slams shut.
TODD
It's okay by me Herr Kommandant. I'm sure
the police would love to meet the "Blood-
fiend of Patin."
In a flash the front door is open, so is the screen. Dussander
is through the doorway and descending upon Todd with the rolled
umbrella raised to strike him. Todd stumbles back against the
porch rail.
DUSSANDER
You get away from this house, God damn you!
I'll beat you all the way home.
But Todd regains his composure quickly. He brushes himself off
and levels his eyes at the old man who now hardly seems the
threat he was a few seconds ago.
TODD
After 1965, no one saw you again... Until I
did. Three weeks ago on the downtown bus. If
you want to call the cops, go right ahead.
I'II wait on the steps.
DUSSANDER
You'll do no such thing.
TODD
I won't? Listen, old man, if I want to start
screaming right here, I will. If I want to
ride down to the police station and bring the
cops back myself, then I will. I will do
what ever I want. Do you understand?
(pause)
But if you like, I could come in for a
minute. We could talk.
Pause.
DUSSANDER
I'd be out of my mind to let an insane boy
like you into my home.
Pause.
DUSSANDER (CONT'D)
Is that what you want, to come into my home?
So be it. There is no arguing with crazy
people.
Dussander turns and steps back through the screen door. He
stops at the threshold of the house and turns. He is holding
the screen door open with one leg, the front door open with the
other. He looks straight ahead. A moment later, Todd steps
into the house.
INT. DUSSANDER'S HOUSE - DAY
Dussander's home is what you would expect of a single, poor, old
man. Nothing fancy, nothing out of the ordinary. Todd looks
around, perhaps half-expecting to find a Nazi flag or an oil
painting of Der Fuehrer hanging above the mantle. But he
doesn't, and moves into the living room where an old picture of
a woman sits framed on an end table.
DUSSANDER
My wife. She died in 1955 of lung disease.
At that time I was working at the Menschler
Motor Works in Essen. I was heartbroken.
Todd's attention drifts away and his fingers slip over to a
lampshade next to the photograph. He begins to feel it as
though he were inspecting it for something.
DUSSANDER (CONT'D)
Stop that!
Todd jumps back a little but then recovers.
TODD
Tell me, wasn't it Ilse Koch who made the
lampshades out of human skin?
DUSSANDER
Now I don't know what you're talking about.
TODD
Sure you do, Mr. Dussander.
DUSSANDER
Denker. Denker. Denker. You don't listen,
boy. The television has fried your brain.
Pause.
TODD
Your hands are shaking.
DUSSANDER
Yes, they're shaking. I'm old. We all
shake. You are most tiresome, and rude. Now
if you have a point I wish you'd come to it.
TODD
We're in no rush. If I thought you had
plans, I'd say cancel them, but since I know
you don't...
DUSSANDER
You know nothing of my business --
TODD
What business? You sit in that ugly chair
and watch soap operas all day. Except on
Friday afternoons when you walk down to the
movie theater. And twice a week you take the
bus downtown to do your shopping. You always
use the express lane because you never have
more than ten items.
DUSSANDER
You have been following me?
TODD
Of course, I followed you. You think I
normally go around to peoples' houses and
accuse them of being Nazi fugitives?
DUSSANDER
Perhaps for me you made an exception.
TODD
No, for you I had to be sure. For Kurt
Dussander I had to be absolutely certain.
...Now, I am, and that's why I'm here.
Todd sits on the sofa.
DUSSANDER
Oh, yes, I see now. As I am this ex-Nazi
fellow, as you say, then this must be the
part where I offer you my hidden stash of
gold, taken from the mouths of old Jewish
men, of course, which I keep buried in the
basement. Isn't that right, boy? Well, I'm
afraid you're wasting your time. I have no
money. If I did I might even give you some
just to be done with this nonsense.
TODD
I don't need money. You don't have any
anyway. At least, I don't think so. You
probably had to spend it all to sneak in the
country. A good American passport is
expensive on the black market, that I know.
DUSSANDER
Do you? Good for you.
TODD
Yes, I do. I know it all, Dussander. You're
my One Great Interest.
DUSSANDER
Your what?
TODD
My One Great Interest. Well, not you
personally, but, ...well, it's something I
learned back in eighth grade. Our teacher,
Miss Harmon, she said we'd have to find our
One Great Interest in life. You know, the
thing that would really grab us. Once we did
that, everything would fall into place. Like
hers, she said, wasn't teaching, but
collecting nineteenth-century postcards. I
guess there's no money in that, so she has to
be a teacher. Anyway, she told us to start
thinking about it. So I did, but nothing
happened. Until the following summer, in
Ronny Pegler's garage. That's where I found
it.
INT. RONNY PEGLER'S GARAGE - DAY
Todd and RONNY, both 13, rummage through several large boxes in
the corner of the garage. We see that the boxes are filled with
old war magazines. Ronny tosses several of them to the ground
as he digs for his dad's old copies of Penthouse. Ronny selects
one Penthouse and rifles through it. He discards it a moment
later.
RONNY
One of these has three girls doing it at the
same time.
But the old war magazines catch Todd's attention. He picks one
up curiously and carefully flips through the tattered pages. We
see a few of the photographs: Nazi storm troopers, prisoners
behind barbed wire, the ovens.
RONNY (CONT'D)
I got it! Check this out. ...Todd, look.
TODD
Hang on a sec.
As young Todd stares into this secret world, his voice comes
in...
TODD (CONT'D)
It was all there... pictures of stuff I'd
never seen, stuff they never put in the books
anymore, especially the ones they give us to
read. And here were stacks of them.
INT. DUSSANDER'S LIVING ROOM - DAY
Todd speaks excitedly. Dussander, very bored, clearly indulges
him.
TODD
It... grabbed me. It was just like Miss
Harmon said. I couldn't believe it. But
there it was, the camps, the uniforms, the
...the way they saluted each other. But what
am I telling you for? You know more about
this stuff than anybody.
DUSSANDER
Yes, what are you telling me for?
TODD
(ignoring him)
Then last year I wrote my big term paper on
Dachau. I got an A+. It was the only A+ she
gave. I mean I always do real well. A's on
everything. That's why I'm accelerated.
DUSSANDER
Accelerated?
TODD
You know, accelerated. I skipped two grades,
second and ninth. I didn't need them.
That's why I'm already a junior.
Dussander sits.
DUSSANDER
I see...
TODD
Some kids resent me for it. That's not
important. Anyway, my paper really floored
my history teacher. I guess because I got
through all those books without throwing up.
But I learned something. I learned that when
you talk about the camps now, you have to
remember to sound really disgusted. I mean,
you can't just say what happened like the
magazines did and leave it at that. If I
tried that the teacher would have freaked and
called my parents in.
INT. RONNY PEGLER'S GARAGE - DUSK
Todd sits on one of the boxes surrounded by dozens of the old
magazines. The door to the house opens and Ronny, looking
cross, pokes his head out.
RONNY
Todd, your mom's on the phone. She says you
have to come home for dinner. ...Todd?
Todd, lost in the sea of old photographs, doesn't notice Ronny
at first. Then he looks up at him. In his eyes is a glint of a
darkness that we will come to know better.
TODD
What?
RONNY
(suddenly wary of Todd)
Your mom's on the phone.
ANGLE on Todd.
INT. DUSSANDER'S LIVING ROOM - DAY
TODD
Nowadays you have to... soften it.
DUSSANDER
Why do I care about this?
TODD
Because, I don't want it softened.
Todd hops up and begins to pace the floor. Dussander stares at
him blankly, unsure of where this is going.
DUSSANDER
I am sure you trouble your parents to no end.
TODD
Actually, I'm pretty low maintenance. That's
what my dad says.
DUSSANDER
You told your parents about me, then?
TODD
You think I'm crazy?
DUSSANDER
I think you're crackers, but go on. I'm
riveted.
Todd looks deep into Dussander's eyes. Dussander is
uncomfortable. Slowly, Todd reaches out and brushes his finger
against Dussander's hand. Dussander gets up.
DUSSANDER (CONT'D)
What are you doing?
Pause.
TODD
And then it happened... I was on my way to
the library. It was raining...
FLASHBACK: INT. CITY BUS - DAY
Todd's voice narrates what we are seeing. Todd, seated near the
back of the bus, watches Dussander climb aboard. Todd thinks
nothing of it at first, but soon finds that he is unable to take
his eyes off him. Todd is trying to place the old man's face in
his mind...
TODD (V.O.)
You climbed on the bus and started this slow
walk down the aisle. Just like you were
examining a new batch of inmates. I don't
think anybody gave you a second glance but
me, but somehow ...people seemed to move out
of your way. And under your arm you carried
a rolled up umbrella. But what really did
it, what really set me off was the coat. You
were wearing this long black rain coat. My
mind suddenly flipped back to a picture of
you taken at Patin. You in your S.S.
greatcoat with a riding crop under your arm.
INT. DUSSANDER'S LIVING ROOM - DAY
TODD
It was incredible.
Dussander stares back at him flatly.
DUSSANDER
All of this... because of a rain coat?
TODD
Well, it wasn't that easy. I mean, I had to
really check up on it. And every picture of
you in those books is forty years old, at
least. I went back to the library to find
the picture. And then I matched it with the
photos I took.
DUSSANDER
You took photographs of me?
TODD
Yeah, I got this little camera. Fits right
in the palm of my hand.
DUSSANDER
(crunches cigarette into ashtray)
Clever boy.
TODD
But even then I couldn't be sure. I needed
real proof. So I went to the mall and bought
a fingerprint kit from the hobby shop and a
book that tells you what you're supposed to
look for and then dusted your mailbox while
you were at the movies. Pretty smart, huh?
DUSSANDER
You... put dust on my mailbox? For
fingerprints? You took photographs of me?
What else did you do?... I don't believe any
of this.
TODD
I already had a copy of your fingerprints.
They're on your want sheet from the Israeli
government. It's on database at UC Irvine.
Can you believe that?
DUSSANDER
Bourbon.
He storms toward the kitchen and stops.
DUSSANDER (CONT'D)
Would you care for a drink, boy?
TODD
Sure, you got a Coke?
DUSSANDER
No Kok.
TODD
Milk?
DUSSANDER
Milk.
Dussander disappears into the kitchen. Todd stands alone in the
living room.
He lets out a long, nervous breath, showing for the first time
the presence of something other than the cold confidence he has
been putting up for Dussander. He knows he has crossed into
dangerous territory from which there is no going back. But
after a moment he composes himself; he has come this far. The
sternness returns to his eyes. Todd is all business. He takes
a breath, and then speaks loudly enough for Dussander to hear
him in the kitchen.
TODD
It takes eight good matches, they're called
compares, actually, for a fingerprint to get
accepted in court.
DUSSANDER (O.S.)
Is that right?
FLASHBACK: EXT. DUSSANDER'S FRONT PORCH - DAY
Todd steps up onto the porch and looks around calmly. He pulls
the powder and brush from his pocket and begins to examine the
mailbox for prints.
TODD (V.O.)
Yeah, there were two sets of prints. The
first I figured were the mailman's. Once I
knew what I was looking for, yours were easy
to spot.
INT. DUSSANDER'S LIVING ROOM - DAY
DUSSANDER (O.S.)
You should be a detective.
The SOUNDS of a refrigerator opening and closing come from the
kitchen. Drinks being poured. Todd begins to move slowly
toward the kitchen.
TODD
Maybe I will... Mom thinks I'd be good at it.
INT. DUSSANDER'S KITCHEN - DAY
He reaches the doorway just as Dussander turns around with the drinks.
TODD
I found fourteen compares.
Dussander approaches him carrying a tumbler of milk and a glass
of bourbon. He hands the tumbler to Todd, who brings it up to
his lips and hesitates.
TODD (CONT'D)
You have some.
DUSSANDER
Good Gott.
He snatches the cup and swallows twice.
DUSSANDER (CONT'D)
You see? It's milk, boy. From Dairylee
Farms. On the carton is a picture of a
smiling cow.
Todd pauses and then begins to drink.
DUSSANDER (CONT'D)
(more to himself than Todd)
...And two missing children.
(pause)
Boy what you have done, I have to explain
this to you because clearly you don't
understand, what you have done is a
violation.
TODD
A violation?
DUSSANDER
Yes.
TODD
Kind of like those experiments with the
decompression chamber. Now, that was a
violation, Dussander.
DUSSANDER
That fucking name. Enough of that. I demand
it.
TODD
You what?
DUSSANDER
I demand --
TODD
You demand nothing from me. Ever. Get it?
Pause.
DUSSANDER
Boy, I will tell you this once more, and for
the last time. My name is Arthur Denker. It
has never been anything else. It has never
even been Americanized. If you must know,
and apparently you must, I was named by my
father who greatly admired the stories of
Arthur Conan Doyle. I did serve in the
reserves, I admit, and in the late thirties,
when I was first married, I supported Hitler.
I supported him most, I suppose, because for
the first time in years there was work and
there was tobacco. ...Would you like a
cigarette?
TODD
No. My dad used to smoke. Mom made him
quit. Now he's addicted to Nicorette...
that's nicotine gum.
Dussander turns toward the counter and pulls a kitchen match
from a cabinet. He lights his cigarette with his back to Todd.
DUSSANDER
Nicotine gum.
Dussander's eyes drift to the collection of kitchen knives
neatly stuffed in their block on the counter in front of him.
He lingers a moment, pulls deeply on the cigarette, then turns
and continues.
DUSSANDER (CONT'D)
Anyway, Hitler lost his mind at the end,
directing phantom armies at the whim of his
astrologer. He even gave his dog, Blondi, a
death capsule. On May 2nd, 1945, my regiment
surrendered to the Americans. I remember
that a private named Gonzales gave me a
chocolate bar. I wept.
Bored, Todd sinks into a chair at the table.
DUSSANDER (CONT'D)
I was interned at Essen where I was treated
very well. We listened to the Nuremberg
trials on the radio and when Goering
committed suicide, I bought half a bottle of
schnaps and got drunk. When I was released,
I put wheels on cars at the Essen Motor Works
until I retired in 1963. In 1967 I emigrated
here, to California, and became a U.S.
Citizen. I am as American as you are. I
vote. No Buenos Aires, no Berlin, no koo-ba.
And that's it, my whole story. I hope you're
satisfied. But if not, it's, as you say,
tough shit for you. Now, you go. Enough of
this.
Dussander points to the door, but Todd remains motionless in his
chair.
TODD
That was pretty good. So much to remember.
But I guess it helps when you have forty
years to practice your story.
DUSSANDER
Oh, to hell with this and to hell with you.
I'm calling the police. Your father is
going to beat your behind when he picks you
up at the police station.
TODD
No. My parents don't believe in violence.
DUSSANDER
Well, they should start. I'm calling.
Dussander steps past Todd and picks up the receiver of the phone
hanging on the wall above the table. The boy still sits
motionless behind him. Dussander dials a "9", and then, with
more difficulty, a "1". He stands with his finger poised over
the final "1". Tiny beads of sweat roll over his forehead. His
shoulders drop. Todd stands up. Their faces are close
together.
TODD
Hang up the phone.
DUSSANDER
This is unforgivable. Do you know the things
you're accusing me of?
TODD
Do it.
Slowly, Dussander brings the receiver down onto its hook.
DUSSANDER
If you don't want money, what do you want?
TODD
I want to hear about it.
DUSSANDER
Hear about what?
TODD
The camps. Everything. The experiments. The
examinations. All the stuff the writers are
scared to put in their books because people
will think they're sick. That's what I want,
...everything.
DUSSANDER
Everything?
TODD
Exactly. And you're going to tell it to me.
DUSSANDER
You're a monster.
TODD
According to history you're the monster.
DUSSANDER
How could you ask me to remember such things?
I can barely remember to take my heart
medicine.
TODD
You were there. You did those things. No
one can tell it better than you can. And you
will tell it, starting today. Right now. If
you don't, I'll tell everyone who you are. I
swear it.
DUSSANDER
Why should I? Why should I do any of it?
TODD
Because you hung up the phone. That's why.
...And just so you know, just so there is no
misunderstanding whatsoever. Everything I
have on you, the compares, the want sheet,
all the photographs, are all in an envelope
under my mattress. I'm going to put it there
every time I come to see you. If anything
happens to me, if I should suddenly
disappear, some one will find it. Believe
me --
DUSSANDER
That's a foolish thing to do. What if your
mother goes in your room anyway? What if she
hires a maid?
TODD
You better hope she doesn't.
(looking at watch)
We're wasting time. Let's get started. I
have to be home for dinner. Today I want to
hear about the ovens. How you baked them
after they were dead... and before.
Pause.
DUSSANDER
(to himself)
A boy... a boy...
TODD
But before we start, put your teeth in. You
look better with your teeth.
EXT. DUSSANDER'S HOUSE - DUSK
It is later the same day. Todd emerges from the house. The
setting sun tells us he has been inside for several hours. He
picks up his bike and hops on. He stops. He turns to look up
the street in both directions. No one. A moment later he
pedals off down the street.
MAIN TITLES
INT. HIGH SCHOOL CLASSROOM - DAY
TITLE: SEPTEMBER 1984
A typical high school image. Rows of students sit listening to
a lecture from MR. PROXMIRE, fifties, as he weaves his way
through the aisles.
PROXMIRE
But in 1902, Panama didn't exist. The
country we know as Panama was part of
Columbia.
As the teacher continues to lecture, the camera stops on JOEY,
17. On his desk is a folded note. He hands it across the aisle
and motions for it to be sent to Todd a few rows over. The note
moves across the room, avoiding the meandering teacher, on its
way to Todd.
PROXMIRE (CONT'D)
Now the nations of the west knew they needed
a canal through Central America. They were
tired of waiting for their ships to sail
around Cape Horn. This was the new century,
the age of modernization. And the U.S. was
at the forefront. Teddy Roosevelt was in the
White House, looking for any chance to assert
the might of America. When Columbia balked
at the offer made by the U.S. and England,
Roosevelt sent his naval war ships to sit off
the coast of Panama, just sit there, where
they could be seen from the coast.
The FEMALE STUDENT across the aisle from Todd now has the note.
She whispers to him but he doesn't hear. Todd is trying to say
awake with great difficulty.
The girl extends the note just as Proxmire passes. He stops,
turns around, plucks the note from the girl's hand and heads for
the front of the class.
PROXMIRE (CONT'D)
Finally Columbia gave up the territory for
about a tenth of its original price. And as
Roosevelt would say later, "The U.S. stole
the Panama canal fair and square."
Without glancing at it, Proxmire crumples the note and drops it
into the waste basket by his desk.
INT. HIGH SCHOOL - LOCKER AREA - DAY
It is in between classes. The denizens of STUDENTS crowd around
their lockers. Among them is Todd. He searches through his
locker and selects a book. Suddenly the door SLAMS shut to
reveal the face of Joey standing against the lockers. Todd,
startled, jumps back.
JOEY
(laughs)
Take it easy, Jesus. It's just me, flinch-
man.
TODD
(serious)
Don't do that.
JOEY
I got news for you. You're gonna like it.
TODD
Walk with me to French.
The two walk down the corridor.
JOEY
Someone likes you. Someone good.
TODD
Who?
JOEY
Well, I heard my sister talking on the phone
with Lisa Herman, and... well --
TODD
You going to tell me who it is?
Two CHEERLEADERS pass them.
JOEY
(lowering voice)
You didn't hear it from me.
TODD
Fine.
JOEY
Becky Trask.
TODD
Was that so hard?
JOEY
So ask her out and the weekend after next you
can double with me and Vanessa.
TODD
What about this weekend?
JOEY
I'm already planning on being grounded.
TODD
Grounded? What for?
JOEY
Where the hell you been? Report cards were
sent out today. I know that never affects
you...
They arrive at the door of Todd's classroom as the BELL SOUNDS.
JOEY (CONT'D)
Shit. Don't forget what I told you.
Joey runs off, leaving Todd looking after him.
EXT. DUSSANDER'S BACK PORCH - DAY
TITLE: OCTOBER 1984
It is late afternoon. Dussander sits in a rocking chair facing
out into the backyard. Todd is in the lawn chair off to the
side. He has just finished a McDonald's cheeseburger and is
about to start another one. Dussander eats a Big Mac, washing
it down with bourbon. A large cat keeps jumping onto
Dussander's lap while he is eating. He brushes it away annoyed.
TODD
I've never seen anyone drink bourbon with
McDonald's before. ...So, How did the stuff
get to Patin?
DUSSANDER
In railroad cars marked "Medical Supplies."
It came in long crates that looked like coffins.
TODD
That's fitting. Was it always Zyklon-B?
The cat jumps into Dussander's lap again. He throws it down,
this time harder.
DUSSANDER
No, from time to time we would be sent
something else. Experimental gases. The
High Command was always interested in
improving efficiency. Once they sent us a
gas code-named "Pegasus." A nerve gas.
Thank God they never sent it again. It...
Todd sits up a little, leaning in.
TODD
It what?
DUSSANDER
It didn't work very well. It was quite boring.
TODD
Bullshit. You're lying. What did it do?
DUSSANDER
It killed them. What do you think it did,
made them walk on water? It killed them.
The cat jumps up a third time. This time Dussander picks it up
and tosses it a good six feet. The animal hits the ground and runs away.
TODD
Tell me.
(slurps on his Coke)
Tell me.
DUSSANDER
I won't. I refuse. Where are my cigarettes?
He finds the pack and fumbles a cigarette to his lips. He
lights it. Todd watches calmly, giving the old man a moment to
collect himself, and then...
TODD
What did it do?
DUSSANDER
It made them dance.
TODD
Dance?
DUSSANDER
Like Zyklon-B, it came in through the shower
heads. After a few seconds the prisoners
began to leap about. Some were screaming.
Most of them were laughing. They began to
vomit and to... to defecate helplessly.
TODD
You mean they... they... shit themselves?
...Woah.
But Dussander ignores him, staring out into the yard as he
begins to remember more easily.
DUSSANDER
They began to twitch all over and make high,
strange sounds in their throats. At last
they collapsed and just lay there on the
concrete, twitching and yodeling, with blood
streaming from their noses. But I lied to
you, boy. It didn't kill them. Either
because it wasn't strong enough or because we
couldn't bring ourselves to wait that long.
I suppose it was that. I sent five men in
with rifles to end their agonies. These were
five men I trusted. It would have looked bad
on my record to have wasted so many
cartridges at a time when the Fuehrer had
declared every cartridge a national resource.
I was always given high marks for efficiency.
TODD
Yeah, I bet.
Dussander looks down at the remains of the meal in his lap. As
if his own story has suddenly disgusted him, he balls the food
up in its wrapper and shoves it into the paper bag.
DUSSANDER
How do you eat this crap everyday?
TODD
Why didn't you just do the job yourself? You
carried a gun, didn't you?
DUSSANDER
(incredulous)
I was the commandant of the camp.
TODD
So you never killed anybody?
DUSSANDER
(getting frustrated)
The entire world was at war, boy. People died.
TODD
That's not a real answer. I'm asking about
you.
DUSSANDER
Boy, I was a soldier in a position of power.
You don't get to be there by selling ...girl
scout's cookies.
TODD
I know what the SS was, Dussander. Who are
you talking to? It was a bunch of dumb, rich
kids who bought their way into the service so
they wouldn't have to go fight on the front.
Dussander stares at Todd, wanting to say something. Todd
shovels a few more fries into his mouth, then looks up and sees
Dussander eyeing him.
DUSSANDER
That's enough for today, boy. I beg you.
I'm tired.
TODD
Yeah, fine. That was good story though. You
always tell them good, once I get you started.
ANGLE on Dussander.
DUSSANDER'S DREAM #1: EXT. OPEN FIELD - DAY
Dussander is asleep in his bed. A low groaning sound comes in
very slowly. Dussander's eyes open. He sits up, looks around,
sees that his bed is in the middle of a large open field. It is
grassy, but certainly not beautiful. Something is wrong about
this place.
He stands out of the bed, wearing pajamas. But it is cold. He
takes the sheet and wraps himself in it. The groaning is
getting louder, more human. We have never seen him frightened,
until now. He steps a few paces from the bed. The groans have
becomes low screams. There is no where to go. Slowly, as if he
knows what he's going to see, he looks down at the ground. It's
just grass. But the human voices are now wailing desperately.
His knees buckle, but he tries to fight it. He reaches his
knees and lowers his head toward the ground. The white sheet
flows around him and blows off in a gust of wind. The screams
are now at a feverish pitch. His ear is inches from the grass
and his eyes, marked with unmistakable terror, are wide open
as...
INT. DUSSANDER'S BEDROOM - NIGHT
Dussander bolts upright in his bed.
EXT. OUTDOOR SHOOTING RANGE - DAY
RICHARD (DICK) BOWDEN, 38, is a taller, grayer version of his
son. He stands over Todd's shoulder watching him shoot at a
paper target. He still has on a tie from work, but the knot has
been loosened and his shirt sleeves rolled up. Both Dick and
Todd wear headphones and orange shooting glasses. Dick chews
gum. They are alone on the range.
Todd fires a few rounds from his father's .30-.30. A strained
tension exists between the two Bowdens.
DICK
You're tight. Don't hold your breath so long.
TODD
Forget it. I can't concentrate.
He pulls off his headphones in disgust and hands the rifle to
his father. Dick takes it and begins to reload it for him.
DICK
I know your upset. So am I. So is your
mother.
TODD
These honors classes... they aren't as easy
as I thought they'd be. I totally admit it,
I didn't prepare enough. I'm sorry.
DICK
Well, fine, but now is not the time to slack
off. You got a chance to finish at the top of
your class--
TODD
Nobody wants that more than I do, Dad.
DICK
Well you haven't been hitting the books very
much.
TODD
I know...
DICK
And seeing as you're not playing soccer this
year it's not like you don't have enough
time--
TODD
That still bothers you, doesn't it?
DICK
(with difficulty)
No, son. If you weren't enjoying it, then
you shouldn't play.
TODD
I think it bothers you and you're not telling
me.
Dick decides to take a shot himself. He readies himself and
fires.
DICK
That was lousy. Here.
(gives the gun back to Todd)
I want to see your grades come up, buddy.
That's all that bothers me. And if you say
you need more time to study, then that's what
we'll do. The first thing is to cut out all
the time you spend reading to Mr. Denker.
It's a nice thing to do, but it's not helping
our school work a bit.
Dick is looking at his son, unsure if he has just seen a
contortion of rage on his son's face. But Todd is cocking the
rifle and...
DICK (CONT'D)
Hey, Todd. You still with me?
TODD
Yeah... no. Dad, don't do that. Please.
Don't punish Mr. Denker for something that's
my fault. I mean, he'd be lost without me--
DICK
He'll be fine without you. He was fine before
and he'll be fine after. There's nothing
wrong with wanting to help people, but you
gotta make sure you got yourself squared away
first. That's what matters.
Todd turns to face his father, and speaks to him with a new
seriousness.
TODD
Dad, am I like other kids?
DICK
Not by a long shot.
TODD
Then trust me on this. Don't lose faith in
me because I blew a couple of exams. I will
get my grades back up. In fact I've already
started. Three days a week I go over to
Freddy Tremain's for extra help. He's a wiz
at trig. But please, Dad, whatever you do,
don't punish a helpless old man for something
that's my fault.
Pause.
DICK
Did you practice that in front of a mirror or
something?
Todd smiles. Feeling his father caving in, he aims the rifle and
squeezes off a round. Dick keeps his eyes on Todd as he shoots.
DICK (CONT'D)
Hey, he's not...?
TODD
(it takes him a second)
...No.
DICK
Just checking.
(thinks for a moment)
All right... We'll give your way a shot. If
you think you can do it, if you really do,
and your serious, then... okay.
You really like the old guy, don't you?
TODD
I'm making a difference in somebody's life.
It's that simple.
Todd aims the rifle down range and pulls the trigger. The gun
jams. Todd tries to move the lever but it gets stuck.
DICK
Okay, okay.
(takes the rifle)
Don't ever force it. Watch.
Dick begins to methodically unjam the gun.
INT. DUSSANDER'S KITCHEN - DUSK
TITLE: NOVEMBER 1984
Dussander looks shabbier than in previous scenes. His clothes
and hair reflect an increasing disregard for personal
appearance. He goes to the basement door and, leaning carefully
over the steps, retrieves a fresh bottle from his stash, stored
precariously on some shelves leading down to the basement. He
comes back to the counter and cracks the bottle open. Todd's
irritated voice booms in from the living room.
TODD (O.S.)
Don't get too drunk. We still have a little
while.
Dussander mumbles contemptuously and then speaks so Todd can
hear him.
DUSSANDER
You don't have to do that, you know.
INT. DUSSANDER'S LIVING ROOM - DUSK
Todd has built a fire, probably the first fire Dussander's
fireplace has seen in twenty years. The room is bathed in a
warm orange glow as the winter sun sets outside. Todd uses the
poker to adjust one of the logs.
TODD
Screw you. I'm doing this for me. This
place is freezing.
Dussander comes back in with his drink and settles into his easy
chair, which has been positioned in front of the hearth.
DUSSANDER
Yes, it must be fifty degrees outside. I'm
sure to you it seems positively frigid.
TODD
Why didn't you pay your gas bill?
DUSSANDER
It slipped my mind. I will attend to it
tomorrow.
TODD
Slipped your mind. I noticed it didn't slip
your mind to stock up on a new case of
bourbon.
DUSSANDER
Leave me alone.
Todd finishes with the fire and sits on the floor a few feet
away.
TODD
All right, so finish your story, because I'm
still not clear. You cook up this stew, and
you bring the prisoner in, and you let them
smell it, and suddenly they tell you
everything?
DUSSANDER
Oh, don't misunderstand me. Certainly with a
pistol pressed to their head, a prisoner
would tell us everything we wanted to know,
sometimes more. But mine was a much more ...
elegant method. Remember, it had been months
since they had smelled real potatoes
simmering over an open flame, and boy, when
that delicious odor hit their noses their
mouths would drop and out would pour an
account of every minor infraction their
friends had committed, I mean it was
magnificent...
TODD
And you let them eat the soup?
DUSSANDER
Oh, we never promised them the soup in
exchange for information. We never mentioned
it at all.
Pause. Todd is impressed.
TODD
Wow, that's really good, Dussander. I mean
that's...
(pointing)
that's thinking.
Dussander does not respond. He gazes deeply into the fire.
DUSSANDER
...But, as the war pressed on, the time for
such civilized measures became a luxury. I
remember by April of '45, we had barely
enough food to feed ourselves. The sound of
the Russian mortars grew louder everyday, but
still, the train cars from France and Poland
kept coming. This was a time of desperation.
The ovens burned day and night and still I
knew we would not beat the arrival of the
Russian forces. Many of my men, the cowardly
ones, deserted during the night. But the men
that remained, the same ones I had called
upon so many times, ...continued the work.
At first we thought a massive fire in the
main building would serve our purpose. We
could just crowd them in and pull a gas torch
up to each of the windows. But with so many
of them, we couldn't be sure the bodies would
burn properly. We needed something
...certain. Then a young, bright soldier, I
shall never forget his enthusiastic smile,
pointed to a pair of bulldozers near the
Western gate which had been used during
construction. How perfectly simple it was.
The bulldozers carved a narrow trench, four
meters deep, down the center of the camp.
For two hours they dug until I realized we
may not have enough gas to finish the job.
So the inmates were given shovels and told
they were building a shelter from the
incoming artillery. When they were done, I
immediately called for a practice drill and
three thousand naked bodies began to march
into the trench. It took less than twenty
minutes to get them in place. Quickly the
bulldozers moved down the sides of the pit
sending the piles of earth into the massive
grave. Those who tried to free themselves
were shot, of course, but very few cartridges
were wasted that day. The machines were too
fast. Back and forth they went... packing
the dirt. One by one the tractors ran out of
gas and my men had to scurry along with
shovels. But by sunset... it was done. I
gave the order to evacuate. In the distance
the plumes of Russian mortar fire rose like
an approaching thundercloud. But I knew that
no matter what happened, ...no one would ever
forget what we did here.
Dussander stares into the fire. Todd, wide-eyed, is locked on
Dussander when...
The PHONE RINGS.
They look at each other, a bit puzzled. Clearly, it does not
ring very often, and when it does, Dussander cannot help but be
apprehensive.
It rings again. Dussander gets up and moves toward the kitchen,
Todd watches him go.
DUSSANDER (CONT'D)
Hello?
(Pause. Then with apprehension)
Yes? ...No, no trouble at all. ...Yes.
...Yes, he's here. ...I see.
(his face softens)
...Really? ...No, no plans. ...Ah, lovely.
...My dear, I'd be delighted. ...Certainly.
...Of course I will. ...Yes, until then.
...All right. ...Good-bye.
He hangs up and turns to Todd with a odd grin.
DUSSANDER (CONT'D)
It seems I am to be your guest for
Thanksgiving dinner.
INT. OLD TOYOTA CAR - ROADSIDE - NIGHT
Todd and Becky are in the backseat of Becky's car. They are on
a date and have parked on the side of a road overlooking the
lights of their town. At 16, BECKY TRASK, is an attractive girl
who has recently discovered that boys like her and she likes
them. They are kissing in the back seat. MUSIC plays on the
stereo. Becky's blouse is unbuttoned. She stops kissing Todd.
BECKY
Is everything all right?
TODD
Yeah, I'm fine.
Becky smiles to herself, unconvinced.
BECKY
You're nervous. I think it's sweet.
TODD
No... No, I'm cool.
BECKY
Do you want me to do something else?
Todd just stares at her. He doesn't know what he wants. Becky
decides for him. She slides down out of the frame. Todd is
startled at first, but lets her. After a moment, he closes his
eyes.
EXT. DUSSANDER'S BACK PORCH - NIGHT
Dussander sits in his rocking chair. A small blanket drapes
across his lap. He smokes a cigarette and holds a near-empty
glass. On the ground beside him, there is a small bowl.
DUSSANDER
Here kitty-kitty. Here kitty-kitty.
Out in the yard, the large cat emerges from the darkness and
moves across the grass. It sees Dussander and, more
importantly, the bowl next to him. We see that the bowl is
filled with milk.
DUSSANDER (CONT'D)
Come, puss-puss. That's right. I'll wait.
Dussander sits perfectly still. Cautiously, the cat moves
toward the porch.
DUSSANDER (CONT'D)
That's right, puss-puss. You can smell it
now, can't you?
The cat creeps to the edge of the steps. It takes them one at a
time.
DUSSANDER (CONT'D)
That's right, kitty-kitty. That's right.
After a moment the cat edges up to the bowl. Its tail twitches
nervously. Finally, it begins to lick up the milk. Dussander
crunches the cigarette out in his empty glass. His movements
are slow and patient. From under the blanket he pulls a pair of
yellow rubber gloves. He begins to put them on. The cat jumps
back for a moment. Dussander freezes. He waits the cat out.
Soon the animal is back at the bowl. Dussander continues with
the gloves. He watches the cat's tail. As the animal gets
comfortable, its tail flips under the rail of the rocking chair.
Dussander slams the chair back. The CAT SHRIEKS. Dussander
flips the blanket on top of the cat and wraps it into a tight,
squirming, HISSING bundle. He stands out of the chair.
DUSSANDER (CONT'D)
Gotcha.
INT. BECKY'S TOYOTA - ROADSIDE - NIGHT
It is later. Becky sits behind the wheel. Todd is next to her.
A different song is on the RADIO. They sit for a moment in
silence, clearly uncomfortable.
TODD
I'm sorry.
BECKY
It's all right. Maybe you'll be more in the
mood later.
TODD
I don't know. That's never happened before.
Becky lights a joint. She takes a puff and exhales toward Todd.
TODD (CONT'D)
Can you blow that the other way?
BECKY
Maybe you don't like me.
TODD
No, I do.
BECKY
(exhaling out the window)
Maybe you don't like girls.
For a moment it is as though Todd's face were purple with rage.
But a moment later the expression is gone. Todd turns away.
Becky sees that her comment has hurt him.
BECKY (CONT'D)
That was a lousy thing for me to say. I'm
sorry, honey.
She kisses him on the cheek. He nods reluctantly.
TODD
Let's just go home.
INT. DUSSANDER'S KITCHEN - NIGHT
Dussander bursts through the door with the bundle. A single paw
emerges from the corner of the blanket and flails at Dussander,
clawing him across the neck.
DUSSANDER
Oww, you mother-fucker.
They move across the room to the stove. With difficulty,
Dussander pulls open the oven door, revealing the glowing red
interior. The animal SCREAMS and claws at Dussander's neck and
arms, escaping more and more from the blanket with every
gyration of its body. With a mighty shove Dussander plunges the
cat toward the opening, but the animal braces its paws on the
edge of the stove. The two are deadlocked. But Dussander's
hands are too close to the heat. He screams. His grip loosens
just enough. With a desperate cry, the animal charges up
Dussander's body, over his head, and leaps to the floor.
Dussander dives after it.
DUSSANDER (CONT'D)
Come here!
But the animal is too swift. In a second, it is atop the
counter and out the open window above the sink. Although
defeated and exhausted, Dussander cannot contain his excitement.
His panting gives way to a twisted, hearty laugh.
TODD'S DAYDREAM: INT. EXAMINATION ROOM - DAY
This is a 1940's laboratory. Todd is in his boxer shorts.
Dussander is next to him, wearing a lab coat and his S.S.
officers hat. Todd looks down on the examination table. A
YOUNG GIRL, about 16, is held to the table with clamps. She is
naked, staring at Todd. Behind the table is a glass window and
behind that is another room where OTHER SCIENTISTS are
monitoring equipment.
Over Dussander's methodical voice, Todd's dream shows flashes of
what is being done: some sort of sexual experiment on the girl.
DUSSANDER
(to other scientists)
Test run eight-four. Electricity, sexual
stimulus, metabolism. Based on the Thyssen
theories of negative reinforcement.
Dreamlike SOUNDS and images pass before us: Todd's breathing,
the girl's cry, electrical equipment, naked flesh, maybe
Todd's, maybe the girl's.
DUSSANDER (CONT'D)
Subject is a young Jewish girl, approximately
sixteen years of age, no scars, no
identifying marks, no known disabilities --
Inside the control room, a SCIENTIST monitors a volt meter,
calling out the readings as Dussander yells for the voltage to
be increased. As the meter rises, the girl SCREAMS more
violently. Perhaps her eyes roll back, her tongue flutters in
her mouth. Through all of this, the scientists call out and the
record heart rate, blood pressure, brain activity, voltage, etc.
Todd's eyes close. His breathing accelerates as does the motion
of his hips until...
INT. HIGH SCHOOL CLASSROOM - DAY
Todd snaps out of his daydream. His trigonometry class is
having an examination. He sits at his desk, staring blankly at
the paper before him. Most of the answer spaces are empty. He
knows he is going to fail another test.
EXT. OUTOOOR SHOOTING RANGE - DAY
Todd is blasting away, rapid-firing the rifle down range at an
unfortunate paper target. The protective headphones lay on the
counter beside him, as does his backpack. He stops shooting
when a voice snaps over the P.A. speaker next to him.
VOICE (O.S.)
You, on lane twelve. You need to have your
headgear on at all times. (click) And no
rapid firing.
Todd looks over at the man frowning at him from inside a small
booth. Todd puts on the headgear, and after a moment, the man
goes back to reading a newspaper. Todd looks up and down the
range. One or two other shooters are concentrating on their
targets. Todd quickly hoists his rifle up and aims it at the
man in the booth. He snaps off a single dry round. Todd smiles
weakly at the sound of the click. Unnoticed by anyone, he turns
back toward the target, strangely comforted.
INT. DINING ROOM - BOWDEN HOUSE - DAY
Thanksgiving dinner. All the Bowden's are there, including
Dick's parents, VICTOR and AGNES. Dussander sits at the head of
the table, Todd next to him. The family has finished dinner and
is having coffee. Dick and his father smoke cigars. Todd's
mother, MONICA BOWDEN, still pretty at 36, pours Dussander some
more coffee.
MONICA
Todd loved that dog. A lot more than Dick
did.
DICK
We all loved that dog.
AGNES
I remember when you had to put it down, Todd
cried for two weeks. Just about broke my
heart.
DUSSANDER
Excuse, me, Mrs. Bowden. Put it down? I've
been here over twenty years but that's a new
one.
VICTOR
Means put it to sleep, Victor.
Dussander still looks puzzled. He looks to Todd, but Victor
jumps in.
VICTOR (CONT'D)
Well, it's how they kill it, Arthur. They do
it all the time at the pound, ...sick dogs,
dogs nobody wants.
MONICA
It's very humane.
DUSSANDER
I see.
Todd shoots him a fiery glare that the others don't notice.
MONICA
Some more pie?
DUSSANDER
As my departed wife used to say, 'One must
never overdo the sublime.'
AGNES
It was delicious, Monica.
VICTOR
Tell me, Arthur, if you don't mind me asking.
What did you do during the war?
AGNES
Now don't get too personal, Victor.
A quick moment between Todd and Dussander.
DUSSANDER
I was a student at the University until my
reserve unit was called in 1943.
(notices Victor)
But we were not a combat unit, thank God.
Mechanical engineers. Help me find my
cigarettes, Todd. Would you? In those days,
not even the call of higher learning could
exempt an able body from military service.
Dussander's cigarettes are right in front of him. Todd fetches
one and, bringing it to his own lips, lights it for him.
MONICA
Todd Bowden!
DUSSANDER
(laughs knowingly)
My dear, I do apologize. My hands are too
arthritic to strike a match, I'm afraid.
Your son has been good enough to help an old
man with his filthy habits.
MONICA
Well...as long as you don't inhale.
TODD
Cigarettes are gross, Mom.
VICTOR
Well, Victor, you were doing your part like
we all were, I suppose. Of course, if you
were in the Pacific Fleet I'd have to shoot
you.
Everyone laughs, except Todd.
DICK
(to Dussander)
My dad is very proud of the fact that the
Bowden men have hit every major conflict
since the Civil War.
VICTOR
That's right. Dickie served two tours in
Vietnam. Earned a bronze star and a purple
heart.
DICK
It's one family tradition I'd like to put an
end to. Todd and I blow a few caps down at
the range every week. That's all the combat
he needs.
TODD
(perking up, offended)
What's that supposed to mean?
DICK
Forget it.
DUSSANDER
(looking at Todd)
Perhaps your son would excel in combat.
MONICA
Todd could excel at anything. Right, honey?
Todd doesn't answer. His eyes are still on Dick. Dick notices
him.
AGNES
(getting up, starts to clear some
dishes)
Oh, let's don't even talk about this. I can't
stand to think of you boys fighting another
war.
DUSSANDER
The Purple Heart. You were injured?
TODD
He was knocked unconscious and woke up in a
hospital.
A long pause. Dick is embarrassed and offended by Todd's stab.
He puffs on his cigar. Agnes comes in from the kitchen and picks
up some more dishes. Dick stands suddenly to help her.
DICK
Mom, let me get that for you.
EXT. RESIDENTIAL STREET - SIDEWALK - NIGHT
Todd and Dussander walk together in silence. Todd is clearly in
a bad mood. Dussander prods him.
DUSSANDER
You shouldn't be so hard on your father.
TODD
Why don't you mind your own business.
DUSSANDER
(amused at Todd's short fuse)
Boy, It's not so easy to raise children. Your
father does the best he can, I'm sure. Having
his own father there is bound to cause some
anxiety on his part--
TODD
Oh, give me a frigging break, will you? Look
who's talking to me, for Christ's sake. And
what was that crap about the dog? If you
were any more charming I was going to puke.
DUSSANDER
Heavens, boy, wasn't that precisely the
point? I used the evening to our advantage.
TODD
Our advantage? Our advantage?
DUSSANDER
Certainly now they will offer no objections
if you continue to come over and read to me.
TODD
You sure take a lot for granted. Do you
think there's anybody forcing me to come over
to your scuzzy house and watch you slop up
booze all day? Do you?
DUSSANDER
Lower your voice. People will hear.
TODD
So what?
Dussander stops.
DUSSANDER
No, nobody forces you to come. In fact, you
are welcome to stay away. Believe me, boy, I
have no scruples about drinking alone. None
at all.
They start walking again. Dussander turns up his driveway.
Todd follows.
TODD
You know, if they found out what you are,
they'd spit on you.
DUSSANDER
I am sure they would have nothing but
revulsion for me. But what would they say
about you, boy, when I told them you had
known about me for nine months... and said
nothing?
Dussander unlocks his door and steps in.
DUSSANDER (CONT'D)
Come and see me if you please, and stay home
if you don't. Good night, boy.
He closes the door.
INT. DUSSANDER'S KITCHEN - DAY
TITLE: DECEMBER 1984
Todd places a brightly wrapped Christmas present on the table in
front of Dussander, who looks at it skeptically.
TODD
Go ahead, open it. Wait, I better pull down
the shades, first.
DUSSANDER
What for?
TODD
Just to be safe.
DUSSANDER
(getting up)
To hell with this. You open it.
TODD
Oh, relax, old man. Sit down and open it.
Todd opens the refrigerator and pulls out a can of Coke.
Dussander slowly sits back down.
DUSSANDER
You wrapped it yourself, I see.
He begins to remove the bow, and then the paper. He moves very
cautiously, as if the package might explode at any moment.
Finally, he removes the lid and his expression shifts from one
of fear to one of exasperation.
TODD
Merry Christmas!
We see that the box contains a replica of an officer's S.S.
uniform, complete with hat and jackboots. Dussander reads the
label.
DUSSANDER
Pete's Quality Costume Clothiers - Serving
You Since 1976.
TODD
Go ahead, try it on.
DUSSANDER
Are you out of your mind, boy? What makes
you think I would put something like that on?
TODD
I thought you'd like it --
DUSSANDER
Like it? My God, you're a bigger fool than I
thought. Maybe I'll put it on and do a
little shopping downtown. Is that what you
thought? You stupid, boy.
TODD
Don't call me stupid.
DUSSANDER
You... You know, you are correct. I am the
stupid one. For months I have suffered your
indignities. I have exposed my past to you
while watching you stuff your face with those
wretched hamburgers. I have stocked my
refrigerator with Coca Cola and ding dongs.
All for you, I have done these things and I'm
tired of it. But because I value my life and
my freedom, what's left of it anyway, I do
them. But I'll die before I put this thing
on, you fucking piss-ant.
TODD
That's enough. You don't get to talk to me
like that.
Dussander bangs the table.
DUSSANDER
I should smash you.
TODD
Do it. Please.
(pause)
Indignities? What you've suffered with me is
nothing compared to what the Israelis would
do to you. Remember what happened to
Eichmann? You forget that, I think. And,
you know, that's my fault. I have let you
forget. You have gotten comfortable with
this situation. Well, don't you for one
minute ever forget who holds the cards here.
Don't you ever forget that envelope under my
mattress. I tried to do this the nice way, I
tried to do something to please you, but you
don't want it. So fine, we'll do it the hard
way. You will put this on because I want to
see you in it. Now strip.
DUSSANDER
I hope you go to hell --
INT. DUSSANDER'S KITCHEN - DAY
It is five minutes later. Dussander stands in the uniform. He
looks at it indignantly.
DUSSANDER
The insignia is all wrong. The boots should
be leather, not imitation.
TODD
That suit cost me over eighty bucks... with
the boots.
DUSSANDER
And this material... what? Polyester?
TODD
Quiet. Straighten that hat.
Dussander ignores him.
TODD (CONT'D)
Straighten that hat, soldier!
DUSSANDER
Good Gott.
Dussander does what he is told.
TODD
Actung!
Slowly Dussander straightens up.
TODD (CONT'D)
Now, march... Do it!
Dussander begins to move his feet in place.
TODD (CONT'D)
That's it. March.
Dussander has gotten into a rhythm, marching faster in place.
TODD (CONT'D)
About face.
Dussander spins sharply on his heels. He continues to march.
TODD (CONT'D)
About face.
Dussander is stomping in place vigorously. He spins on command,
facing Todd. He gives a Nazi salute. Todd watches him march
for a moment. At first he enjoys the domination, but as
Dussander gets caught up in the marching, Todd's expression changes.
TODD (CONT'D)
Okay, that's enough.
Dussander is still marching furiously.
TODD (CONT'D)
I said that's enough!
Suddenly Dussander stops. He collapses into a chair, exhausted.
He sits there panting for a moment.
DUSSANDER
Boy... be careful. You play with fire.
DUSSANDER'S DREAM #2: INT. DUSSANDER'S BEDROOM - NIGHT
Dussander wakes to a strange, faint rumble. He climbs out of
bed and walks across his bedroom toward the source of the sound.
We follow him as he moves farther and farther away from his bed.
Soon it is apparent that he is in a space much larger than his
room. Yet he is still in darkness, as if his room has suddenly
ended and continues into a black void.
But the rumble gets louder, more mechanical sounding. As the
sound crescendoes we see what Dussander sees. A train car.
Steam rises in the air as if the train has just come to a
complete stop in the night.
Dussander stares at the boxcar coldly, and we realize that
something is staring back at him. Eyes, dozens of them, glare
back at him from between the slatted boards of the train. Some
are low to the flooe, like those of children. Others are
higher. Dussander snaps at them in German.
DUSSANDER
(in German)
Come out. ...Come out, now!
No one exits the train. Yet, the eyes seem to move around
cautiously within the boxcar. Dussander is getting angry. His
orders aren't being carried out. Suddenly the door of the train
slides open. But still only the eyes are visible.
DUSSANDER (CONT'D)
(in German)
Line up in front of the train. Now!
Again, no one gets off. Enraged, Dussander takes a few steps
toward the train. In a flash the eyes charge at him. But these
are not the eyes of prisoners. These are wolves. Dussander can
only cover his face with his arms as the snarling teeth descend
upon him.
INT. DUSSANDER'S BEDROOM - NIGHT
Dussander wakes from his nightmare in a cold sweat. His pajamas
are soaked. Disoriented and out of breath, he climbs out of bed
and clicks on the light.
The closet. He stares at the closed closet door for a moment and
then moves toward it slowly. He opens the door and runs his
fingers across the assortment of shirts and jackets. His hand
stops near the back.
INT. DUSSANDER'S BEDROOM - FIVE MINUTES LATER
Dussander is seated on the side of the bed smoking a cigarette.
He is dressed, with the exception of the boots and hat, in the
SS uniform. He appears calmer, less agitated. He crunches out
the cigarette and slips under the covers. He turns off the
light. He closes his eyes. For the moment, he is at peace.
INT. HIGH SCHOOL - LOCKER AREA - DAY
Todd stands facing his open locker. He is staring at his report
card. Sweat collects on his forehead. He looks like he is
about to explode. He wipes his brow with his sleeve and turns
around to see if anyone notices him. TWO STUDENTS catch his
eye. They are both Asian. They are smiling and pouring over
each other's report cards. Todd zips open his backpack, giving
us a quick glimpse of the disassembled rifle pieces inside. He
throws the report card in and zips up the bag. Slinging the bag
over his shoulder, he slams the locker shut and heads off down
the hall.
INT. HIGH SCHOOL GYMNASIUM - DAY
Todd is shooting baskets with Joey. It is after school. Todd
wears a white T-shirt. Off to the side, we see the dress shirt
he was wearing earlier and his school bag.
JOEY
So what are you going to do?
TODD
Fuck if I know.
Todd throws up a clumsy shot. It misses.
JOEY
You're throwing it flat. Let it roll off
your fingers more.
TODD
(snapping at him)
I don't need a lesson.
Todd adjusts his grip on the ball anyway. He shoots again. No
good.
JOEY
Your dad, man. I don't know. I mean, I'm a
fuck up. My dad is used to this crap from
me.
Todd does not respond to his friend's attempt at humor. He is
slamming the ball around with great force. He bounces it hard
off the back wall to give himself a rebound. He is mumbling to
himself.
JOEY
What?
TODD
What?
JOEY
You said something?
TODD
No.
JOEY
You're talking to yourself, Bowden. It's not
the first time I've noticed it. What is
going on with you?
TODD
Nothing, Joey. I fucked up. I'II fix it.
I'II fix it.
JOEY
(hurt)
All right, man. Whatever you say. Look, I
got to get to practice.
No response from Todd.
JOEY (CONT'D)
If you need to talk, you can call me. You
know that. I'II see you around.
Joey walks off. Todd continues shooting the ball.
TODD
(mumbling)
You're talking to yourself, Bowden. You're
talking to yourself, Bowden.
He throws up a shot. It is good.
TODD (CONT'D)
I'II fix it. I'II fix it.
A strange SQUAWKING sound is heard. Todd doesn't hear it at
first, but as the sound grows louder Todd stops the ball and
looks around. His eyes focus on the area near an open doorway.
Sunlight streams into the empty gym. Todd walks closer, seeing
that the sound is coming from an injured bird that has crawled
in from outside. He goes up to it. The bird is black. Its
wing is damaged. It SQUAWKS loudly, looking up at Todd. Todd
begins mumbling again. He starts to dribble the ball
thoughtlessly. As his words become clearer, the bouncing gets
harder.
TODD (CONT'D)
I'll fix it. I'll fix it. I'll fix it.
Todd is bouncing the ball very hard next to him. The bird
continues to SCREAM. Slowly the ball drifts from beside Todd to
in front of him, gaining force with every bounce. He brings it
up to his face and with both hands throws it down with all his
might. When it comes back up, it is smeared with blood. He
throws it down again, this time it comes up with feathers
smeared in the blood. The squawking has stopped. Blood
splatters on Todd's shirt. His eyes close.
He stops the ball, looks around. No one has seen him. He
notices his shirt. Calmly, he tears it off, wraps the ball in
it, and tosses it in a nearby trash can.
EXT. RESIDENTIAL STREET - DAY
Todd pedals his bike through town, carrying a brown paper bag
under one arm. He turns down Dussander's street. He stops in
front of the house and heads for the front door.
INT. DUSSANDER'S KITCHEN - DAY
Dussander emerges from the basement just as Todd comes into the
kitchen. Todd sniffs the air, frowns.
TODD
What the fuck happened in here?
DUSSANDER
Ah, boy... I burned my TV dinner, I'm afraid.
TODD
Something's come up. Sit down.
Dussander's studies Todd for a moment. Although Todd appears
calm, his tone reflects a somber, business-like attitude.
DUSSANDER
I see.
(sits at table)
What seems to be the trouble?
Todd sets his grade card and the envelope on the table.
Dussander picks up the grade card and examines it.
DUSSANDER
Quarterly Progress Report.
(he reads silently)
You seem to have fallen on the rocks, my boy.
One B, three C's and a D. Hardly the work of
a "National Merit Scholar," or whatever you
call yourself.
TODD
This isn't a joke, Dussander. I can't blame
this on teachers or honors classes anymore.
DUSSANDER
Looks like you have a problem then.
TODD
I have a problem? You still don't get it.
I'm out of excuses. Do you know what's going
to happen when my dad sees that? He's going
to hit the fucking roof. He'll get it all
out of me. The truth, you...everything.
DUSSANDER
Boy, it's not my fault your grades have
fallen.
TODD
Don't be so sure.
Dussander throws Todd a dismissive wave. He gets up to get a drink
DUSSANDER
Please, you don't spend that much time here.
I hardly think--
TODD
(quickly, as if confessing something)
I can't study anymore.
Pause. Dussander looks at him oddly, a bit surprised. But then
opens the cabinet and pulls out a glass, allowing Todd to continue.
TODD
(with difficulty)
I try. But it's... different now. I sit in
front of my books and start thinking about...
about corpses, and electrified fences and
people getting strangled with piano wire.
All that crap you tell me. The next thing I
know it's after midnight. I sit in class
like a zombie, ...useless. But that's not
the half of it. Check out the letter.
Dussander goes back to the table and picks up the envelope. He
opens it.
DUSSANDER
(reading letter)
'Dear Mr. and Mrs. Bowden, this note is to
suggest that we have a group conference
concerning Todd's first semester grades. In
light of his previous good work in this
school, the sudden deterioration in his
grades suggest a specific problem which
should be addressed before his academic
advancement is jeopardized permanently. Such
a problem can often be solved by a frank and
open discussion. I am ready to work out a
time for us to meet. In a case such as this,
earlier is usually better. Sincerely yours,
Edward French.' Who is this Edward French,
the headmaster?
TODD
French? Fuck no. He's a stupid guidance
counselor.
DUSSANDER
Guidance counselor? What is that?
TODD
He guides and he counsels. You read the
fucking note. Do you realize I could have to
go to summer school? Me, in there with all
those fuck-ups. I do not want to go to
summer school.
DUSSANDER
Or to the reformatory.
TODD
What did you say?
DUSSANDER
Boy, ...you have a far greater problem than
your school grades. Before you speak to me
about what they will "get out of you",
remember the facts. ...Seventy thousand
people died at Patin. Have you forgotten
that? To the world at large I am the most
despicable of criminals, a monster. Do you
think I would stand aside and let you turn me
in so easily? Without a fight? Is your
American self-confidence so bloated that you
have never once realized you are an accessory
to my crimes. You have criminal knowledge of
an illegal alien, and have not reported it.
Don't you see that? And if I'm caught, I
will tell the world all about you. When the
reporters put their microphones in my face it
will be your name I'll repeat over and over
again. Todd Bowden, yes that's his name.
How long?... oh, for months, almost a year.
He wanted to know everything... That's how
he put it, yes - everything.
TODD
They'd never believe you.
DUSSANDER
Perhaps, perhaps not. It's a gamble. How
would you explain all those books you were
reading to me? My eyes are not what they
were but I can still read fine print. I can
prove it.
TODD
So what? I'd say you tricked me.
DUSSANDER
Why would I do that?
TODD
For friendship, because you're lonely and had
no one in your life. No jury would take your
word over mine. A Nazi? Forget it. Just
get it out of your head. You can't threaten
me and you can't scare me. What you can do
is find me a pencil.
DUSSANDER
A pencil, what for?
Todd sets the small paper bag on the table. Dussander opens it
and removes a small bottle. The label reads: "ink eradicator."
He also removes an x-acto knife and a few sheets of rub-off
letters.
TODD
That will take care of the report card, I
think. About that fucking letter, I don't
know.
Todd sits down at the table. He takes the bottle from Dussander
and examines the report card.
TODD (CONT'D)
Fuck... come on, a pencil. A sharp one.
With an eraser.
Dussander pauses. He knows Todd is right. Slowly, he goes to
the counter and opens a drawer. He rummages through it as Todd
sits with his back to him. Dussander picks out a pencil with an
extremely sharp point. He holds it point out and approaches
Todd. He gets closer, the point moves in toward the back of
Todd's head. He holds the point inches from the boy's neck. He
deliberates.
DUSSANDER
Will this do?
Todd grabs the pencil. Dussander turns toward the window. He
thinks for a moment.
DUSSANDER (CONT'D)
Tell me, does this French know your parents
in a social way?
TODD
Him? Fuck, no. They wouldn't mix with a
geek like him.
DUSSANDER
How about professionally? Has he ever called
them before?
TODD
No. I've never needed it. Why?
DUSSANDER
I have an idea. It will require you to make
one phone call.
INT. HIGH SCHOOL - OFFICE WAITING AREA - DAY
Kurt Dussander, a.k.a. Arthur Denker, a.k.a. Victor Bowden,
Todd's grandfather, sits outside an office marked, "Edward
French - Guidance." Dussander looks the best he has ever
looked. His hair is clean and combed. His face is shaved. And
he is smartly dressed in his best blue suit. As he waits, he
glances down at a piece of paper. We see that it is a "crib-
sheet" of Todd's family tree. Several names appear on the
sheet, connected to other names by lines and arrows. By each
name is one or two word description, such as "dead: cancer,
1981" or "divorced, Dallas, Tex." The door opens up. Dussander
pockets the note. EDWARD FRENCH, 40's, stands in the doorway.
He wears a turtle neck under his sportcoat.
FRENCH
Mr. Bowden?
DUSSANDER
Mr. French, a pleasure.
There is a bit of hesitation on French's part, but they shake
hands. Dussander notices the shoes on French's feet, bright red
converse high-tops.
DUSSANDER (CONT'D)
My, those are some... colorful shoes.
INT. HIGH SCHOOL - FRENCH'S OFFICE - DAY
French makes his way around his desk. Dussander stands by the
door.
FRENCH
To you, sir, I'm sure they seem quite out of
the ordinary. But when it is your job to get
confused sixteen year-olds to open up to you,
you take whatever steps you need. Please
have a seat.
They both sit.
DUSSANDER
And the shoes work?
FRENCH
They seem to help, believe it or not. Well,
I thank you for coming down, Mr. Bowden, but
I'll be frank with you...
DUSSANDER
Yes, please do.
FRENCH
The fact that you're here and not Todd's
parents tells me a great deal.
DUSSANDER
I'm sure. My son and his wife asked me to
come in and discuss this sorry business with
you, Mr. French. Todd is a good boy, believe
me. This trouble with his grades is only
temporary.
Dussander pulls out his cigarettes and then, thinking twice,
puts them back.
FRENCH
It's all right.
(pulls an ashtray from desk
drawer)
There's no smoking on school grounds, but if
it will make you more comfortable, I'll never
tell.
DUSSANDER
A terrible habit, but thank you.
(lights up)
I suppose I should begin by informing you
that my son and my daughter-in-law are having
troubles at home. Rather bad troubles, I
should think.
FRENCH
I appreciate your candor.
DUSSANDER
(leaning in)
The mother drinks.
FRENCH
Oh.
DUSSANDER
Yes. The boy has told me that he has come
home on two occasions and has found her
sprawled out on the kitchen table. He knows
how my son feels about her drinking and so on
these occasions he has put dinner in the oven
himself and forced enough black coffee down
his mother's throat so that she will at least
be awake when Richard gets home.
FRENCH
That's bad. Has Mrs. Bowden thought about
getting professional help for her problem?
DUSSANDER
The boy has tried to persuade her, but she is
far too ashamed, I think. If she was given a
little time... You understand?
FRENCH
Of course. Your son... Todd's father...
DUSSANDER
He is not without blame, believe me. The
hours he works. The meals he has missed.
They take a toll on a family. I was raised
to believe that a man's family came before
his work or anything else. I tried to teach
my son that... but --
FRENCH
There's only so much we can teach our kids,
Mr. Bowden. ...What about Monica's mother or
father? Couldn't they talk to her?
DUSSANDER
Her mother, Sabrina, lives in a nursing home
in Florida. I'm afraid after her husband
died she lost her will to live.
FRENCH
Probably not the best person for Monica to
speak to.
DUSSANDER
Indeed.
FRENCH
Mr. Bowden, I don't have to remind you, I'm
sure, of Todd's stellar academic record.
National Merit Scholar finalist, Academic
All-Stars.
DUSSANDER
Yes. I keep his certificates on the wall of
my store. I run a small bookstore in San
Remo.
A hint of skepticism crosses French's eyes.
FRENCH
(glancing at folder on desk)
Yes, I see that. Anyway, Todd is, and I hate
to phrase it this way, but he's one of the
ones worth fighting for. He's a special kid,
we both know that. But If Todd's grades
don't improve drastically and quickly...
he'll be opening a real nasty can of worms.
Summer school would just be the beginning.
His whole college acceptance schedule would
be thrown way off course. The good schools
won't know what to make of him. I'm sure
he'd hate that and so would you.
DUSSANDER
Of course.
FRENCH
So let's get to the bottom line, shall we?
What I'm proposing is some family counselling
at the Counselling Center downtown.
Everything is in confidence, of course. A
man in charge down there, Harry Shumacher, is
a good friend of mine. I think Todd and his
parents should go see him together. It might
be difficult for Todd to go to his parents
with this; I think you should do it. Maybe
we can get everybody on track by the end of
the next quarter. It will be tough, but not
impossible.
DUSSANDER
I'm not sure that would be the best thing for
the boy. The parents might resent him if I
took them that proposal right now. Things
are very delicate. To swing the scale too
far in the wrong direction might cause more
harm than good. The boy has promised to work
harder in his studies. He is most concerned
by the drop in his grades, more alarmed than
you might expect. He has his mind set on
attending Stanford or Berkeley next fall and
does not wish to see his plans altered.
FRENCH
Yes, well --
DUSSANDER
Also, the parents would resent me. Monica
already thinks I meddle too much in her
affairs.
FRENCH
I have a great deal of experience in these
matters, Mr. Bowden. And please understand
that my interest in your son's marital
problems begins and ends with the effect they
are having on Todd. And right now I think
they are having quite an effect. I really
think counselling is in order here.
DUSSANDER
Allow me to make a counter proposal. You
have, I believe, a system for warning parents
of poor grades?
FRENCH
Yes, Interpretation of Progress cards. IOP
cards. The kids call them flunk card. They
only get them when their grades in a class
fall below the seventy percent. That means a
"D" or an "F". Why?
DUSSANDER
And they are sent out when?
FRENCH
Mid-quarter. That's about three weeks into
the new marking period.
DUSSANDER
Allowing for Christmas break, the next time
they are sent out will be in late January,
correct?
FRENCH
Yes, that's right.
DUSSANDER
Good. Then what I suggest is this...
EXT. DUSSANDER'S BACK PORCH - DAY
Dussander still wears the blue suit. The tie has been loosened
and top button undone. Todd still wears his backpack.
TODD
You what?
DUSSANDER
I told him you were getting back on track by
your own accord. I gave him my word. If you
get even one flunk card--
TODD
Are you out of your fucking mind? I'm going
to get three or four flunk cards. I failed
an economics test today, so there's another
one.
DUSSANDER
Boy, it was the best I could do without
arousing suspicion.
TODD
I could have done better myself --
DUSSANDER
Well you didn't, did you? This is the way it
is and now you are upset because the only way
you can make things right is to work.
TODD
You're insane. I'm upset because it can't be done.
DUSSANDER
It can. And it will. You will work.
TODD
I don't take orders from you. Maybe you've
forgotten --
DUSSANDER
(turning on him)
Listen, boy. Before today it was possible,
just barely possible, that you could have
denounced me and come out clean yourself.
The way your nerves have been lately I don't
think so, but never mind that. It was - at
least technically possible. But now things
have changed. Today I impersonated your
grandfather, one Victor Bowden. And it was
you who arranged the meeting. What would
people make of that? If things come out
now... perhaps you were right, your age and a
good attorney might keep you out of jail, but
you would be humiliated, boy, publicly. You
would be infamous. Your parents too. Do you
know what such a scandal would do to them?
To you? Think about that.
Todd is stunned. He turns away, then back again, struggling for
the right words.
TODD
You fucker.
DUSSANDER
It's a done deal, boy. If you don't like it,
you can discuss it at family counselling.
TODD
God! I wish... I wish --
DUSSANDER
Never mind your wishes. Your wishes make me
sick. All I want to hear is that you
understand the situation.
Todd is furious. He sees there is no other way, but continues
fighting.
TODD
Look, you gotta believe me. There is no way
in hell that I can pull myself out of a half
year slide in a couple of weeks. I wish I
could, but we're just going to have to think
of something else.
DUSSANDER
Boy, the time for discussion is over. This
is the way it is. You are going to work.
And I am going to be right here with you.
TODD
What are you talking about?
EXT. BIKE PATH - DAY
Todd is standing with his bike on a dirt path. He is looking
out at something. The wind blows throw his hair. A distant
glimpse of some buildings off to the side tell us he is on a
hill.
DUSSANDER (V.O.)
You are going to spend the rest of this
quarter, all of your vacation and the first
three weeks of January studying. During your
free period you will study. During lunch,
you will study. And after school and on
weekends you will come here and do the same.
EXT. BIKE PATH - TUNNEL - DAY
Todd pedals his bike furiously toward the camera. He approaches
a tunnel lined with corrugated metal below an overpass.
TODD (V.O.)
Not here, at home.
DUSSANDER (V.O.)
No. At home you will dawdle, you will talk
on the telephone, watch TV. Here, I can make
sure that nothing distracts you from your
studies.
Todd emerges from the tunnel.
DUSSANDER'S DREAM #3: EXT. PRISON YARD - NIGHT
Spotlights, like those from a guard tower, criss cross over a
small compound surrounded by an electrified fence. Inside the
pen, wolf-like dogs snarl and gnash their teeth. The spotlight
catches the source of their aggravation...
Dussander, caught ghoulishly in the roving light, stands in
uniform outside the pen. He is laughing. In his hand is his
Luger. He fires through the fence, killing one of the dogs.
They go wild. He laughs harder. He shoots again, and then
again. It is like shooting fish in a barrel.
The light beam passes the pen to reveal that the dogs have
transformed into human prisoners. They maneuver helplessly to
avoid Dussander's bullets. But he fires faster, his laugh
growing more extreme. His movements in between shots becomes a
sort of dance. One prisoner flies against the fence in a pools
of sparks. As Dussander's waltz reaches it's climax, one
prisoner remains in the pen. He looks up. It is Todd. Angle
on Dussander's toothy grin. The gun comes up...
INT. DUSSANDER'S BEDROOM - NIGHT - IMMEDIATELY AFTER
Dussander wakes up. A CLANKING SOUND echoes from the street.
Dussander looks like he could have been having a wonderful sex
dream, but he turns his head toward the direction of the street.
He clicks on the light. Dressed in the SS uniform, he gets up
and moves toward the window.
Through the window, bathed in the glow of a street lamp, a
derelict, who we will come to know as ARCHIE, rummages through
Dussander's trashcans. Under his arm are a few of the empty
bourbon bottles.
INT. BECKY'S TOYOTA - NIGHT
The car pulls into the driveway of Todd's house. Becky is
smoking a joint and blowing the smoke out the window. They both
look a little tipsy, as if they have been to a party. She holds
the joint up to Todd. He contemplates, then takes it. Todd's
first toke of marijuana isn't very small. Becky looks on,
surprised. She reaches out for the joint and Todd waves her
off. He pulls again, this time ingesting a huge hit. He holds
it, then exhales. He gives the roach back to Becky.
TODD
Their light is still on. I'll get out on
your side. Don't say anything.
Becky gets out. Todd slides over and does the same. She
crushes the joint out on the pavement and puts the rest in her
purse.
INT. DUSSANDER'S BEDROOM - NIGHT
Dussander watches Archie collect the cans and bottles. There is
something about Archie that makes Dussander wonder if he has
seen him before. Archie looks up, right into Dussander's
window, as if he were expecting him to be there. The two stare
at one another for a long moment. Suddenly Dussander is aware
that he is dressed in the SS uniform.
He quickly steps back from the window. His breathing is short
and erratic as he waits in the shadows for Archie to finish.
After a long moment, the noise from the street stops. We hear
only the faint steps of Archie walking away.
INT. TODD'S BEDROOM - BOWDEN HOUSE - NIGHT
Todd and Becky's lips are locked in a passionate kiss. In their
exuberance they fall onto the bed. As they try to undress and
kiss at the same time, Becky begins to moan. Todd brings his
fingers to his lips.
TODD
Shhh.
Their clothes tumble off around them.
TODD (CONT'D)
Don't move.
He slides off her and opens the drawer by his bed. He pulls out
a condom. By now she is naked. Todd slips out of his underwear
and falls on top of her. The RADIO plays in the b.g. as Todd
begins to grind away with his hips. She moans softly with
delight.
The CAMERA MOVES off of them to reveal a man in a lab coat
setting up a volt meter. This is one of the scientists from
Todd's laboratory nightmare. The CAMERA continues TO PAN across
the bedroom, showing the other scientists preparing for the
electricity experiment. The CAMERA STOPS on Dussander,
clipboard in hand, observing everything carefully.
Todd releases with a final thrust. Becky is MOANING in a series
of high, fast yelps. Todd lies still on her body. Becky is
speechless, still quivering from the unusually intense love
making.
INT. DUSSANDER'S BEDROOM - NIGHT
The bedroom is dark except for the glowing tip of a cigarette.
Dussander is in bed, wide awake...
INT. DUSSANDER'S KITCHEN - DAY
TITLE: JANUARY 1985
Todd sits alone at the table, eating while he studies.
Dussander crosses the frame behind him, drink in hand. Todd is
noticeably annoyed by Dussander's presence.
EXT. BIKE PATH - TUNNEL - DUSK
It is raining. Todd is riding fast. He wears a raincoat with
the hood up. He talks to himself loudly, but we can't make out
what he is saying. He enters the tunnel.
The muddy run-off inside the tunnel catches Todd by surprise.
He loses control of the bike and falls into the mud.
TODD
Fuck.
Todd gets up and tries to free his bike, but the mud and water
do not make the job easy. He is almost finished when a gruff
voice catches his attention.
ARCHIE (O.S.)
Hey, kid, you having some trouble?
Todd looks up and sees a figure moving toward him in the shadows
of the tunnel. Todd quickly pulls out a pocket knife. He flicks
open the blade and hides it behind his leg.
TODD
No. I got it... thanks.
The figure steps closer. The light catches his face to reveal
Archie. He is an unshaven, filthy mess, and when he speaks his
words are slurred from years of steady drinking.
ARCHIE
That case maybe you could loan me a dollar.
Help out a Vietnam vet? How 'bout it?
Todd eyes the man cautiously. He looks around. No one is
nearby. The constant din of the rain echoes within the confines
of the tunnel.
TODD
I... I don't know... I don't think so.
Todd palms the knife out of sight and slowly approaches the bum.
ARCHIE
C'mon, you got something for me. I know you
do.
TODD
Well, maybe... I have to check.
Todd's hands go into his pockets. He stops a few feet from the
bum.
ARCHIE
See, I got to get up to L.A. Got a job
waiting for me up there.
Todd moves closer. Close enough to touch the bum.
TODD
I thought I did have a couple of quarters...
The bum looks at him hopefully. Todd looks back at him, sizing
him up, really noticing him for the first time.
ARCHIE
You know,
(his voice drops)
For a dollar I'll give you a blow job. Take
you right up there where it's still dry. You
never had so good, kid. You'll come your
brains out.
Todd freezes for a moment. The bum is right in his face.
Suddenly Todd throws a handful of change at the bum and sprints
back to his bike. He hops on and is gone in a flash, leaving
the bum there to pick up the scattered coins.
As Todd zips away, the hood is off his head. The rain begins to
beat away the splattered mud from his face.
INT. HIGH SCHOOL - HISTORY CLASS - DAY
Mr. Proxmire makes his way through the rows of desks. He is
passing out papers.
PROXMIRE
Our illustrious administration, in its quest
to make my job as difficult as possible, has
decided that home room teachers are now
responsible for handing IOP cards for all
your classes. So for those of you getting
flunk cards, you'll find them attached to
last week's exam.
Moans erupt from the class. Todd sits motionless at his desk.
The moment of truth. Proxmire passes him and places the exam
face down on Todd's desk. Todd hesitates before turning it
over. He is sweating.
He flips the paper over and glares at the small card clipped to
the top of the paper. He picks up the card and reads it: "I'm
sure glad I didn't have to give you one of these for real!
Great improvement, Todd. -- Anne Leland." Todd cannot contain
his delight. Nearby students stare curiously at the strange boy
beaming over his flunk card.
INT. DUSSANDER'S KITCHEN - DAY
Dussander sits at the table. He holds the IOP card out at arm's
length to read it. The bourbon bottle next to him is empty.
Todd sits across from him.
DUSSANDER
Well, this calls for a celebration, no?
Dussander gets up and goes to the refrigerator.
TODD
Look, I guess I owe a lot of this to you.
I'm not proud of it, but it's true.
DUSSANDER
(eyeing him cautiously)
Your gratitude humbles me.
(pause)
How about some Ritz crackers and Velveeta?
TODD
Sure, what the hell.
Dussander goes about his task, taking items from the cabinets,
etc. Todd watches all of this intently, but without expression.
DUSSANDER
I would have expected you to be doing back
flips down the hallway after such good news.
You are so quiet.
Todd does not respond.
DUSSANDER (CONT'D)
Today, I think, I give you the day off from
studying. How's that? How about one of my
stories instead? I still have a few good
ones saved up.
TODD
I don't care. Whatever you want.
Todd is wringing his hand together nervously under the table.
Dussander places a box of crackers on the table and goes back to
the counter.
DUSSANDER
Let's see. I could tell you about the
special soap we made. Or there is always the
story of how I escaped from Berlin after I
was foolish enough to go back. That was a
close one, I promise you.
TODD
Anything, really.
DUSSANDER
No, none of these I think. You don't seem to
be in the mood.
Dussander slices open a pack of Velveeta and puts it on a plate.
DUSSANDER (CONT'D)
I think today I will tell you the story of an
old man who was afraid. He was afraid of a
certain young boy who was, in a queer way,
his friend. The boy proved to be a very good
student, but perhaps not in the way his
mother or his teachers had envisioned. At
first the old man disliked the boy intensely,
but then he grew to... to enjoy the boy's
company. Of course, there was still a great
deal of distrust between them.
He puts a glass of Coke in front of Todd and goes back to the
counter. He opens a drawer, takes something out, closes it.
DUSSANDER (CONT'D)
Each knew something that other wanted to keep
secret. But over time, the old man began to
feel that things were changing. He felt his
hold on the boy slipping away from him.
Dussander goes to the cellar door. His back is to Todd. He
opens the door and clicks on the light. Todd stands up
silently.
DUSSANDER (CONT'D)
So. One sleepless night the old man got out
of bed and wrote down the story of his
involvement with the boy. Everything he
could remember, from the first day forward.
Todd has moved across the floor, careful not to let the floor
creak under his steps. He is right upon Dussander. Dussander
reaches out with one arm for a fresh bottle, grasping onto the
railing with the other. His body hangs over the steep
staircase.
DUSSANDER (CONT'D)
When he finished his hand was stinging from
arthritis but he felt good for the first time
in weeks. He felt safe.
He gets his balance again and turns to face Todd. Dussander
holds the kitchen knife he was using earlier down at his side
where Todd can see it. A tense silence passes between them.
Todd is frozen. Dussander steps past him and back into the
kitchen. He closes the cellar door behind him.
DUSSANDER (CONT'D)
He climbed back into bed and slept until it
was time for General Hospital.
Dussander sits back in his chair, cutting the seal on the fresh
bottle.
DUSSANDER (CONT'D)
On the following day the old man put on his
best suit and went down to one of the local
banks and rented a safety deposit box. The
bank officer explained to the old man that he
would have a key and the bank would have a
key. To open the box both keys would be
needed. No one but the old man could use the
old man's key without a signed, notarized
letter of permission from the old man
himself. With one exception.
Todd sinks into a chair across from Dussander and takes a sip of
Coke.
DUSSANDER (CONT'D)
That exception is made in the event of the
box-holder's death.
TODD
Then what?
DUSSANDER
Then the box is opened in the presence of a
bank official and a representative of the
Internal Revenue Service. The contents of
the box are inventoried. In this case they
will find only a twelve-page document. Non-
taxable... but highly interesting.
Todd understands what the old man has told him. He slams his
glass down on the table and jumps out of his chair.
TODD
You can't... you can't do that.
DUSSANDER
My boy, it is already done.
TODD
But... Christ! Look at you. You could go at
any time.
Todd stares at Dussander in disbelief. After a moment he storms
out the back door to the porch.
EXT. DUSSANDER'S BACK PORCH - DAY
Todd is leaning over the rail looking out at the yard when
Dussander steps onto the porch. He carries with him the bottle
of bourbon and a glass.
TODD
Then there is nothing for me.
DUSSANDER
But there is. As the years go by, as I get
closer to the grave, your hold on me will
become worth less and less. A man five, ten
years older than I worries more about his
ailing heart than being extradited to Israel.
And there will come a day - if I live long
enough - when I decide what you know no
longer matters. Then, and only then, I will
destroy my document.
TODD
But... but so many things can happen to you
in between. Accidents. Sickness. You could
slip in the shower, for Christ's sake...
Dussander shrugs and lights another cigarette. He begins to
sing softly, then gets caught up in the song... Todd turns away, angry.
DUSSANDER
Que sera, sera... Whatever will be, will
be... The future's not ours to see... Que
sera, sera...
Pause. Dussander sees he has pressed Todd's button. He moves
closer.
DUSSANDER (CONT'D)
My dear boy, I see you thinking about it,
even now. It is in your eyes. Killing me.
It would take only a flick of a knife. Or
maybe push me down the steps, make it look
like an accident? I am old. You are strong.
You are angry. Good assets for killing. But
there is something missing...
Dussander speaks with a near whisper in Todd's ear.
DUSSANDER (CONT'D)
To have some one in your control. To have
them know that they are alive because you
have not decided to the contrary. Do you
have that power? Ask yourself. It is no
easy question. I think you know that.
There is a long pregnant pause. Then Todd lets out a sigh, as if
to dismiss what he has just heard. He turns to face Dussander.
TODD
You know this means we're through. You won't
be seeing me around here anymore.
DUSSANDER
No, I suppose I won't.
TODD
I'm never coming here again.
DUSSANDER
And so it comes to an end. Here.
Dussander pours a splash of bourbon into the boy's glass.
TODD
What are you doing?
DUSSANDER
A drink. To our lives together, the
beginning... and the end.
Todd picks up his glass.
TODD
I think you should fuck yourself.
He CLICKS his glass against Dussander's.
DUSSANDER
My boy, don't you see that we are fucking
each other?
He drinks. Todd, reluctantly, does the same.
FADE TO BLACK.
EXT. MAIN STREET - SANTO DONATO - DAY
TITLE: APRIL 1985
Dussander, dressed smartly for a day out of the house, emerges
from a matinee at the movie theater and strolls down the
sidewalk, the umbrella under his arm. He stops at an empty bench
and sits to wait for the bus.
Archie sits down next to him. At first Dussander doesn't pay
attention to him, but Archie's behavior tells us that he is
keenly aware of Dussander's presence. Dussander stares out into
the street, but Archie fidgets about, his eyes roaming, and
finally slides a little closer to Dussander. Dussander looks at
him flatly. Archie grins. Dussander turns away, prepared to
dismiss this odd behavior as that of a crazed derelict. Then
Archie speaks...
ARCHIE
(leaning over)
I notice the kid don't come around no more.
Dussander doesn't respond. He catches Archie in a glance and
sees that he is staring at him.
DUSSANDER
What?
ARCHIE
Little blond-hair boy. ...What's the matter,
you ain't his friend no more?
Dussander is like stone, flashing the eyes of a man who is not
to be harassed. Finally...
DUSSANDER
You mistake me for somebody else. ...Pardon
me, my bus is coming.
Dussander stands, slightly rattled only to those who know him
well. He looks down the street for the bus. Archie doesn't
move. Rather, he inspects Dussander from head to toe, stopping
on the shoes.
ARCHIE
Damn... Cuban high heels. Nice ones, too.
The SQUEAL of brakes grows louder as the bus comes to rest in
front of Dussander. He has become perceptibly more nervous as
he waits for the passengers to exit. He climbs up the first
step.
ARCHIE
I ain't seen a pair like that since I was in
Havana.
(talking louder because of the
bus)
That's the only place you can get'em. Can't
get'em exported... Government don't let you.
The door closes behind Dussander. The bus pulls away. Through
the window of the bus Dussander watches Archie as he continues
his speech to no one.
INT. HIGH SCHOOL OFFICE - DAY
TITLE: MAY 1985
Todd sits nervously in a chair next to a tough, leather-clad
trouble maker. A SECRETARY sits behind a long desk. Her phone
beeps and she picks it up.
SECRETARY
Go in, Todd. They're waiting for you.
Todd approaches a door marked: "Dr. Carl N. Morgan - Principal."
He goes in.
INT. HIGH SCHOOL PRINCIPAL'S OFFICE - DAY
Todd opens the office door. As his eyes scan the floor he
notices a familiar pair of yellow high-tops. He looks up to see
Ed French leaning against the wall. Seated at the desk is
MORGAN, a thin, stern man, around 50. Todd's face shows a
moment of trepidation, but he regains his composure almost
instantly.
MORGAN
Have a seat, Todd.
Todd does as Morgan pours over Todd's files.
MORGAN (CONT'D)
I see from your record and from what Mr.
French tells me that after a minor slip up
last semester you're right back on course.
Straight A's for the quarter so far. And I
hear your little slip didn't bother the folks
up at Stanford too much either.
FRENCH
A good break for you, Todd.
MORGAN
Looks like that little talk with your...