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Apt Pupil Movie Script

Writer(s) : Brandon Boyce

Genres : Drama, Thriller

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                                 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...
                    (looks at file) 
             grandfather... really helped.  Well, we don't
             want to keep you too long.  
                    (to French)
             You tell him.  

                          FRENCH 
             Well, it seems Sally Chong didn't do to well
             in A.P. biology.

                          MORGAN
             She failed it.  

                          FRENCH 
             I'm afraid so.  She refused to take part in 
             the fetal pig dissection.  The teacher begged
             her to drop the class, but Sally thought she
             could pass anyway.  

                          MORGAN 
             Stubborn girl... What we're telling you, son,
             is that because Sally Chang -

                          FRENCH
             Chong.  

                          MORGAN 
             Because Sally Chong wouldn't hack up a baby 
             pig, you snuck by her in the rankings.  So if
             you can keep your grades up for two more
             months -- any reason that shouldn't happen? 

                          TODD
             No.  

                          MORGAN 
             Then you'll make valedictorian, Todd.
             Congratulations.  

                          FRENCH 
             Congratulations, Todd.  

     French shakes Todd's hand, an uneasy moment passes between the
     two of them.


     INT. HIGH SCHOOL OFFICE - DAY

     Todd comes out of Morgan's office.  French follows him.  

                          FRENCH 
             Todd, you really should be proud of yourself.
             To tell you the truth, I'm amazed you pulled 
             it off.  

                          TODD
             Thanks, I guess.  

     He starts to walk away.  

                          FRENCH 
             I was glad to hear you made varsity baseball.
             I spoke to the coach.  He says your coming
             along real well.  

                          TODD
             Thanks.  

                          FRENCH 
             It's turning out to be a good year for you.  

                          TODD
             Yeah.  

     He turns to go, but French stops him again.  

                          FRENCH
             Todd, wait.  

     He steps up to Todd and lowers his voice, as if he were hedging
     a touchy subject.

                          FRENCH (CONT'D) 
             Todd, you've got a lot of good things going
             on right now.  You should be enjoying
             yourself.  

                          TODD
             I am.  

     French's looks says, "No, you're not." 

                          FRENCH 
             How are things at home? 

     Todd realizes he is not going to get out of this easily.  

                          TODD 
             Look, things with my parents were bad for a
             while.  But they're doing a lot better.  
             Thanks for your concern, really.  I should
             get back to class.  

     He is pulling away from French as he speaks.  

                          FRENCH
                    (unconvinced) 
             Okay, Todd.  I know this isn't the place to
             talk about this.  But my door is always open...

                          TODD
             I know.  Thanks.  

     Todd walks away.  

                          FRENCH 
             And it's going to stay open.  

     But Todd does not turn around.  French stares after him.  The
     BELL RINGS, and Todd is swallowed by the stream of students
     emerging from the class rooms.  


     EXT. HIGH SCHOOL - DAY

     Todd is kneeling down at the bike rack.  His backpack is on the
     ground next to him.  He unlocks his bike and begins to coil the
     chain around his wrist when Joey walks by.  He sees Todd and
     considers going by, but stops.  We can tell they haven't spoken
     in a while.  

                          JOEY
             Hey there.  

     Todd looks up.  He seems pleasant, but there is little warmth in
     his voice.  

                          TODD
             Hey.  

     Pause.  They look at each other.  Joey wants to talk.  Todd
     slips the chain lock into a pocket on his backpack.  Joey
     jingles his car keys anxiously.  

                          JOEY 
             I... ah, I heard about Stanford.  I heard a
             couple of weeks ago actually. ...Congrats.  

                          TODD
             Thanks.  

                          JOEY 
             I got into school to.  Long Beach.  It's no
             Stanford, but...  

     Joey shrugs.  It's an awkward moment.  He walks closer.  

                          TODD 
             No, no... that's good, Joe.  

                          JOEY 
             Well, ...I just wanted to say hi.  Here let
             me get that.  

     Joey reaches for Todd's backpack.  He lifts it.  The heaviness
     puzzles him.  Todd takes it from him.  

                          JOEY (CONT'D) 
             What do you have in there? 

     Todd stares at him stone-faced.  Joey doesn't like Todd's
     expression.  Todd takes the bag from him and puts it on.  

                          TODD
             You busy now? 

                          JOEY
             Uhh...  

                          TODD 
             Come with me.  Hop on.  

                          JOEY 
             Hop on?  I have a car now, Todd.  

                          TODD 
             You can't drive where we're going.  


     EXT. DIRT PATH - DAY

     Joey sits on the handle bars as Todd pedals over the rugged
     terrain.  Joy looks scared, but appears to be enjoying the ride 
     and the chance to be with his old friend.  

     The next shot shows Todd's bike laying on the ground.  The
     wheels still turn slowly.  The camera moves to reveal Todd and
     Joey standing on a rocky ledge.  Orange Country sprawls out
     before them.  

     Under the cross-hairs of a telescopic sight, a truck, from the
     freeway below, zooms out of frame.  The image vanishes.  We see
     Joey looking through the scope which he holds in one hand.  

                          JOEY
             This is so cool.  

                          TODD 
             Point it over here.  That's the middle 
             school.  You can see right into our old class
             room.  

                          JOEY 
             Oh yeah... But I still don't see what you 
             need the rest of it for.  Doesn't your Dad
             notice? 

     The hunting rifle, disassembled, sticks out of Todd's backpack
     on the ground.  

                          TODD 
             He hasn't yet.  

                          JOEY 
             Yet?... Jesus, Todd.  

     He is trying to joke, but the seriousness is clearly in his
     voice.  

                          TODD 
             And over here, that's your dad's office.  And
             there's the old drive-in.  

     Joey isn't looking through the scope anymore.  He holds it out
     to Todd, watching him.  

                          JOEY
             Here.  Take it.  

     Todd grabs the scope.  But Joey doesn't let go.  He finally
     locks Todd in a stare that he has been avoiding for months.  He
     wants to say something.  Todd takes the scope.  He sees that 
     Joey is serious.  He takes a few steps toward the edge, toward
     the gun.  He looks out.  

                          TODD 
             It's such a rush, you know?... To be up here.
             Don't you feel it?  So high above them they
             never know we're here.  It's like an ant 
             farm.  We're the gods on Mt. Olympus, Joey.
             They can't see us, they can't hear us, but
             every so often we can make them feel us.
             Just so they never forget.  Look...  

     He looks through the scope at the freeway.  He picks out passing
     cars.

                          TODD (CONT'D) 
             There goes a future track star.  There goes a
             judge.  A mom and her two kids.  A policeman.
             That one's a school teacher, that one's a
             drug dealer... You see, Joey, it doesn't 
             matter.  It doesn't matter how smart you are
             ...or how many grades you skip.  There's 
             always someone who can take it all away.  The
             right person snaps their fingers... and it's
             done.  

     Joey takes a few steps backward.  Todd doesn't notice.

                          JOEY 
             Todd, I'm gonna go.  I'm gonna... walk home.  

     Todd turns his head toward Joey, but it is as though no one is 
     there.  He looks away again.

                          JOEY (CONT'D)
             Todd...

     Pause.  Todd looks again.  But this time Joey is really gone.  A
     slight chuckle escapes Todd's mouth.  


     EXT. DUSSANDER'S STREET - EVENING

     TITLE: JUNE 1985

     Dussander plods down the sidewalk with his sacks of groceries.  
     He is a little more winded, moves a little slower than
     previously.

     Suddenly Archie emerges from behind a group of trees.  He moves
     quickly up to Dussander, catching him off guard.  

                          ARCHIE
             I can do that.  I can help you carry those.  

     Dussander jumps back.  Archie stops.  

                          ARCHIE (CONT'D) 
             You don't gotta be afraid.  I can carry those.

     Dussander does not move.  But slowly his face changes and we
     realize that he remembers Archie from the bus stop.  

                          DUSSANDER
             I don't need any help. ...Excuse me.  

     He starts off again.  Archie follows.  

                          ARCHIE 
             Hey, I ain't a bad guy.  You don't gotta
             worry.  I'm a veteran.  I just want--

                          DUSSANDER 
                    (snapping at him) 
             What?  What do you want?  Why do you bother me? 

     Archie is taken aback by the sudden viciousness.  

                          ARCHIE
                    (plaintively)
             You got a nice face.  

                          DUSSANDER
             No I don't.  

                          ARCHIE 
             Look, we're practically neighbors.  I stay
             right over there most nights.  
                    (pointing across the street) 
             I see you walking down the street.  I come up
             to help.  It's called being neighborly.

     They are nearing Dussander's yard.  

                          DUSSANDER
             Piss off.  

     Fed up with his belligerence, Archie strips the bags from
     Dussander's hands with ease.  Dussander knows he is outmatched.  

                          ARCHIE 
             Ain't no reason to be rude.  You see, I know
             something about you. ...I know your a nice
             guy.  I'm nice too, ...just like the kid.  

     Dussander looks up and down the street.  No one is around.

                          DUSSANDER
             I see.  

                          ARCHIE 
             And I know you got some bourbon in these 
             bags.  I ain't ashamed to say I could use a 
             drink about now.  But I don't need no charity.
             If you want to invite me in, like a friend,
             we could have a nice drink.  

                          DUSSANDER
             A drink.  

                          ARCHIE 
             That's what I'm saying.  

     Long pause.  

                          DUSSANDER 
             You smell like a toilet.  

                          ARCHIE 
             Maybe you let me use your shower.  But first 
             a drink.  After that I'll do anything you say.  


     INT. DUSSANDER'S LIVING ROOM - EVENING

     Dussander and Archie come through the front door.  Archie scans
     the room.

                          ARCHIE
             Yeah, this is nice.  Real nice.  

                          DUSSANDER
             Let me take those.  
                    (takes the bags)
             Right this way.  

     Dussander moves toward the kitchen.  Archie watches him walk
     away.  A smile crosses his face as he follows him to the kitchen.


     INT. LIVING ROOM - BOWDEN HOUSE - EVENING

     Todd and his parents are together in the living room.  Todd is
     studying for his trigonometry final.  Monica sits at the couch
     addressing graduation announcements.  Dick is at his desk,
     pouring over a pile of receipts.  

                          MONICA 
             I guess your parents don't need a graduation 
             announcement.

                          DICK
             No.  

                          TODD 
             Grandma and Grandpa aren't coming?

                          MONICA
                    (to Dick) 
             I thought you told him.  

                          DICK 
             Christ, I forgot.  Todd, my aunt Patty, Dad's
             sister, died on Wednesday.  Mom and Dad have
             to drive up to Fresno to settle her estate.  
             We can't ask Dad to drive six hours each way
             for graduation.  

                          MONICA 
             If we ask them, they'll do it.  

                          DICK 
             That's why.  You understand, don't you, Todd? 

     Todd thinks for a moment, realizes something.  

                          TODD 
             Of course, Dad.  It's all right.  Tell
             Grandpa I'll spend the week with him and
             Grandma when they get back.

                          MONICA 
             What about Mr. Denker?  I almost forgot about
             him.  

                          TODD 
             No, He won't want to come.  


     INT. DUSSANDER'S KITCHEN & BASEMENT - EVENING

     Archie, seated at the table with his back to Dussander, is in
     the middle of a sprawling monologue about his life to which
     Dussander half-listens.  Dussander goes to the cabinets and 
     takes out two glasses.  He pours the drinks and sets the glasses
     on the table.  Archie picks his up and is about to drink.  

                          DUSSANDER (CONT'D)
             Ah-ah.  

     Dussander picks up his glass to toast Archie.  Archie CLINKS his
     glass to Dussander's and downs the shot.

                          DUSSANDER (CONT'D)
             I believe we need another bottle, my friend.  

                          ARCHIE 
             Well if you're offering, I'm accepting.  

     Dussander goes to the cellar door to retrieve another bottle.  

                          DUSSANDER 
             No trouble at all.  Now where is my bottle
             opener?  Ah, here it is.  

     Dussander pulls something out of a drawer.  He goes to the table
     and stands right behind Archie.  

                          DUSSANDER (CONT'D)
             Why don't you drink mine? 

     Archie picks up the glass and begins to drink, slower this time.
     Dussander pulls Archie's tattered hat off his head and sets it
     on the table.  He then begins to stroke the matted knots of
     Archie's hair.

                          DUSSANDER (CONT'D)
             You don't mind do you? 

                          ARCHIE 
             No. I don't mind. ...Maybe in the morning - 
             everything goes okay - you could let me have
             ten dollars.  

                          DUSSANDER
             Perhaps.  

                          ARCHIE
             Maybe even twenty.  

                          DUSSANDER
             Perhaps.  We shall see.  

     Pause.  

                          ARCHIE 
             You can relax, you know, I've done this before.  

                          DUSSANDER 
             It's all right.  So have I.  

     Dussander raises a meat fork up to the back of Archie's neck.  
     He starts to plunge it in just as Archie turns back to look at
     him.  The fork goes in crooked.  Archie explodes from the chair,
     HOWLING, his arms flailing like those of a grizzly bear.  With
     the fork protruding from his back, Archie tosses the table to 
     the side.  The empty bottle tumbles to the middle of the floor
     and shatters.  Archie spins and slams a fist into Dussander's 
     temple.  Dussander collapses against the counter.  Archie moves
     about wildly, trying to grab the fork and pummel Dussander at
     the same time.  Blood is streaming freely from his wound.  

     Dussander grabs a frying pan from a rack of drying dishes on the
     counter.  As Archie approaches, Dussander swings the pan into
     Archie's descending fist.  Archie winces and staggers backward.
     He stomps down on the broken bottle and screams.  His guard
     falls briefly.  Dussander is upon him.  He swings the pan,
     catching Archie squarely in the face.  

     Archie brings his hands up to his face, which now oozes with
     blood.  Blinded by the blow, Archie charges Dussander, who 
     crouches to the side, and as Archie passes, hurls himself into
     the man's back, sending him through the open door of the cellar.
     Archie flies down the stairs face-first, tumbling into the 
     packed dirt floor like a derailed train.  Dussander, exhausted 
     and bloodied, exhales deeply.  Looking down at the crumpled body
     below, he straightens his tie, brushes the hair from his face,
     and then surveys the kitchen.  

                          DUSSANDER (CONT'D)
             What a mess.  

     He rises slowly and brushes himself off before heading down the 
     steps to finish the bum for good.  After about three steps he
     stops abruptly.  He appears puzzled, but after a moment the
     expression changes.  A look of searing pain rushes across his 
     face.  Dussander brings his hand to his chest.  He collapses on
     the stairs.  He is having a heart attack and knows it.  

                          DUSSANDER (CONT'D) 
             Oh my God.  

     He looks down at Archie, up to the kitchen, then back down to
     the cellar.  A moment of decision.  

     The stairs appear ten times longer in each direction than they
     did a minute ago.  Getting to his feet, he turns slowly toward
     the kitchen.  He starts up the steps at a painfully slow pace,
     counting with each step.  

                          DUSSANDER (CONT'D)
             Ein... Zwei... Drei...  


     INT. LIVING ROOM - BOWDEN HOUSE - NIGHT - LATER

     The same scene as before.

                          DICK 
             Monica... how long did we rent those jet skis
             in Hawaii? 

                          MONICA 
             About two hours.  Why? 

                          DICK 
             This receipt says we had two jet skis for
             twenty-three hours a piece.  The bill is 
             fifteen hundred dollars.  Didn't you look at
             the receipt before you signed it? 

     Todd doesn't look up from his textbook.  

                          TODD
             Way to go, Mom.  

                          MONICA 
             That bill was written in Japanese.  I told
             you that.  

                          DICK 
             Numbers are numbers, Monica, in any language.

                          MONICA 
             That guy didn't speak a word of English.  I
             told you not to rent from him.  

     The PHONE RINGS.  Monica gets up to get it.  

                          MONICA (CONT'D)
             I'll get it.  

                          DICK
             That's not the point.  You should always read
             the bill before you sign.  I've told you that
             a hundred times.
                    (to Todd) 
             Fifteen hundred dollars.  

                          TODD 
             Maybe it's in yen.  

     Pause.  Dick looks at the bill.  

                          DICK 
             Hey, maybe you're right.  

     Monica comes back into the room.  

                          MONICA 
             Todd, it's Mr.  Denker.  He sounds excited 
             about something.  You better speak to him.  

     Todd rises from the couch.  His mood shifts instantly.

                          TODD 
                    (into phone) 
             Mr. Denker? 

     INTERCUT: between Todd in his living room and...  



     INT. DUSSANDER'S KITCHEN - NIGHT

     Dussander leaning against a wall in his blood-stained kitchen.
     The wall above Dussander read 6:50.  

                          DUSSANDER 
             Come over right away, boy.  I'm having a
             heart attack, a bad one, I think.  

                          TODD 
             Gee, that sounds exciting, Mr. Denker, but I
             was studying for my trig final -- 

                          DUSSANDER 
             I understand that you cannot talk, but you
             can listen.  I cannot call 911...  at least 
             not yet.  There is quite a mess here.  I need
             help... and that means you need help.  

                          TODD
             Well if you put it that way -- 

                          DUSSANDER 
             Tell your parents I've had a letter, an 
             important letter, and I need you to read it
             to me.

                          TODD 
             Yeah, sure.  I'll be right there.  

                          DUSSANDER 
             Now we see what you are made of, boy.  

     Dussander hangs up the phone and falls into a chair.  


     INT. LIVING ROOM - BOWDEN HOUSE - NIGHT

                          TODD
             Bye.  
                    (hangs up) 
             I've got to run over to Mr. Denker's for a 
             minute.

                          MONICA 
             Is everything all right? 

                          TODD 
             Oh, he just got a letter from a nephew in 
             Hamburg or Dusseldorf or one of those places.  

                          DICK 
             I thought his family was killed in the war.  

     Todd zips up his jacket.  

                          TODD 
             So did he.  That's why he sounded excited.  I
             shouldn't be too long.  I'll take your car,
             Mom? 

                          MONICA 
             I don't know, you have a final tomorrow.  

                          TODD 
             I know, I was almost finished studying anyway.  

                          DICK 
             Don't be gone too long, Todd.  

                          TODD
             See you in a bit.  

     He kisses Monica on the cheek.  He is out the front door.


     EXT. RESIDENTIAL NEIGHBORHOOD VARIOUS STREETS - NIGHT

     Todd's driving reflects his state of mind: erratic and out of
     control.  He meets a police car at an intersection and almost 
     runs a red light.  The police car doesn't bother him, however,
     and a moment later he pulls the Honda up to Dussander's house.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Todd appears in the door of the kitchen.  His face tells us that
     what he sees is ten times worse than whatever he expected.  The
     room is a gruesome sight.  Blood and broken glass are 
     everywhere.  The table has been knocked to the side.  Dussander,
     barely conscious, slumps in a chair.  

                          TODD
             What the fuck...? 

     Todd moves to the center of the room, careful not to step in any
     blood.  He doesn't know what to do.  His attention falls on
     Dussander.  Suddenly he rushes to him and begins to inspect his
     body carefully.

                          TODD (CONT'D) 
             Where are you bleeding?... wake up.

     Dussander does not respond.  Todd shakes him harder.  

                          TODD (CONT'D)
             Wake up, goddamnit! 

     Dussander stirs a little, aggravated.  

                          TODD (CONT'D) 
             I thought you said you had a fucking heart attack.  

                          DUSSANDER 
             It's not my blood, for Christ's sake.  

     Pause.  

                          TODD
             What did you say? 

                          DUSSANDER 
             It was self-defense, boy.  Go downstairs.
             You'll see what needs to be done.  

     Dussander points to the open cellar door.  

                          TODD 
             Fuck you.  I'm not going down there.  What
             happened?  What did you do? 

     Dussander only stares back at him, then looks away, almost 
     smiling through his incredible pain, as if to challenge Todd.

                          TODD (CONT'D)
             What the hell is this? 

     Dussander does not respond.  Todd stares at him for a moment,
     then moves toward the cellar.  


     INT. DUSSANDER'S BASEMENT - NIGHT

     Todd is half-way down the stairs when he freezes.  Sprawled out
     on the ground below him is Archie, motionless.  The meat fork
     still protrudes from his neck like an antenna.  

                          TODD 
             Jesus Fucking Christ.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Suddenly Dussander is more awake than we realize.  When he hears
     Todd discover the body, he slides his chair over to the cellar 
     door and slams it shut.  His face is red with pain as he pushes
     the dead bolt into place, locking Todd in the cellar.  


     INT. DUSSANDER'S BASEMENT & KITCHEN - NIGHT

     Todd races up to the door.  He tries the handle and then pounds 
     on the door with his fist.  The following conversation cuts back
     between Todd and Dussander on opposite sides of the door.  

                          TODD 
             Open the fucking door!  Right now.  Right
             now! 

     Dussander shoves his chair under the doorknob.  He drags the 
     table against the door as he speaks.  Todd is screaming on the
     other side and begins to kick at the door violently.  

                          DUSSANDER 
             You give me no choice, boy.  

                          TODD 
             What are you doing?  Open the door.

                          DUSSANDER 
             If you won't help me, then I'll make you help
             me.  If you don't, we are finished.  

                          TODD 
             Fuck you, old man.  This is your problem.  I
             didn't do this.  Open the door!  

     Todd pounds awayat the door.  Tears now stream down his cheeks.
     His relentless pounding has Dussander enraged.  Dussander pounds
     back at the door to shut Todd up.  It works.  

                          DUSSANDER 
             Enough.  Enough.  Enough!  If you don't stop
             screaming like a fucking school girl I'm
             going to...  

     A surge of pain from his chest silences him.  He recovers,
     speaking slowly and deliberately.  

                          DUSSANDER (CONT'D)
             Now listen to me, boy, very carefully.  If
             you don't help me, I'm going to die here.  
             And if I die, there is no Stanford for you.  
             There is no scholarship.  There is jail.  My 
             document...  

                          TODD 
             Fuck your document.  I got nothing to do with
             this.  Don't make it sound like I do.  I came
             here, I saw this shit, and now I'm getting 
             the fuck out of here.  That's what I'm gonna
             tell the police.  

                          DUSSANDER 
             Why not tell them the truth?  Tell them I
             locked you in the cellar.  Tell them I 
             wouldn't let you out until you buried the
             body.  

                          TODD 
             I'm not listening to this.  


     INT. DUSSANDER'S BASEMENT - NIGHT

     Todd runs down the stairs and leaps over Archie's body.  Under 
     the dim glow of a single naked bulb hanging from the ceiling, he
     searches for a way out.  He crosses the dirt floor toward a tiny
     window high on the opposite wall.  


     INT. DUSSANDER'S KITCHEN - NIGHT

                          DUSSANDER 
             You must be at the window, yes?  As you can
             see I had it barred a few years ago.  A bad
             element started to move into the 
             neighborhood, you know how it is.  

                          TODD (O.S.)
             Fuck.


     INT. DUSSANDER'S BASEMENT - NIGHT

     Todd realizes he can't get through the bars.  He turns around to
     find another option.  In the obscured background, Archie begins
     to stir.  Silent and bewildered, he feels the area around him 
     and rises slowly to his knees.  Todd doesn't see him and moves 
     into a dark corner of the cellar, rummaging through the piles of
     cluttered junk for something to help him escape.  He disappears
     for a moment into complete darkness and then emerges holding a
     shovel, a fresh confidence on his face.  He holds it like a
     sledge hammer.  

                          DUSSANDER (O.S.)
             We are wasting time now, boy.  
                    (switches to a loud whisper) 
             Come back to the door.  You are not going to
             find anything down there to help you.  

                          TODD 
                    (to himself)
             Oh really?  

     Todd runs toward the staircase and is only a few feet from
     Archie when he sees him.  Todd, mortified, lets out a scream.
     This startles Archie, who cannot speak.  He only gurgles a
     SICKENING WHINE, the fork still sticks out of his neck.  Blood
     drips into his eyes from a gash above his forehead.  Yet even on
     his knees, he is an imposing figure.


     INT. DUSSANDER'S KITCHEN - NIGHT

     Dussander, puzzled by the commotion, presses his ear against the
     door.


     INT. DUSSANDER'S BASEMENT - NIGHT

     Archie blocks the stairs from Todd.  

                          TODD 
             Get out of the way.

     But Archie is too disoriented to move.  Summoning all his
     courage, Todd pokes the shovel into him, as if to prod him out
     of the way.

     But when the blade of the shovel touches him, Archie counters
     violently, grabbing the metal end and swinging it to the side.  
     Todd holds tightly to the handle, an act which sends him flying
     across the cellar.  The shovel stays with Archie, and now he 
     wields it like it were a child's toy.  He slashes it viciously
     through the air.  Todd hides under the stairs, watching Archie 
     duel with the shadows.  Todd bumps into something.  Archie hears
     him.  Through the slats in the staircase we see Archie jabbing
     the shovel at Todd.  

                          TODD 
             Stop it!  Stop it!  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Alarmed, Dussander reaches for the lock, but hesitates, forever
     mindful of the chance of being duped.  His ear goes back against 
     the door.  

                          DUSSANDER 
             What are you doing, boy?  It's not going to
             work, whatever it is.  


     INT. DUSSANDER'S BASEMENT - NIGHT

     Archie pushes the shovel in too far and can't retrieve it.  Todd
     grabs the other end and pulls it through.  

                          TODD
             Fuck this.  

     Fed up, he comes around from under the stairs and confronts
     Archie.  Archie sees him and takes a step toward him.  

                          TODD (CONT'D) 
             I mean it get the fuck away from me.  

     Archie steps closer.  Instantly, Todd tightens his grip on the
     shovel.  He is no longer afraid.  He swings the shovel at 
     Archie's head striking him.  Archie staggers back, stunned, but 
     then charges forward.  Todd strikes him again, this time with
     more force and anger.  Todd lifts the shovel to strike again,
     but this time catches the ceiling light with the metal blade.
     The glass shatters.  The room goes black.  

     A second later we HEAR a SHARP, authoritative BLOW, followed 
     quickly by another, then another.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Dussander knows something is wrong.  He slides the bolt back and
     slowly turns the handle.  He opens the door slightly and speaks
     into the darkness.  

                          DUSSANDER
             Hello?  


     INT. DUSSANDER'S BASEMENT - NIGHT

     A shaft of dull light from the kitchen cuts across the cellar
     floor, revealing Archie's slain body.  An expanding pool of
     blood seeps out from his head.  As the door upstairs opens 
     wider, the light falls on Todd standing over Archie, the shovel
     still in his hands, his face spattered with blood.

     The Todd we knew only a minute ago has been transformed.  He
     stares up at Dussander, not with the eyes of a boy, but with 
     those of a man.  A man who can no longer be saved.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Quietly Dussander moves away from the door, leaving Todd alone
     with what he has done.  He slides the furniture away from the
     door, knowing, as Todd does, that the two of them are now
     working together.


     INT. DUSSANDER'S BASEMENT - LATER

     Todd's face is suddenly illuminated as he screws a fresh light 
     bulb into the dangling cord.  He picks up the shovel.  Archie's
     body still lies where it fell.  Todd goes to the open area of
     the floor and with a forceful stomp, plunges the shovel into the
     dirt.  


     INT. DUSSANDER'S BASEMENT - NIGHT - LATER

     Todd smacks the back of the shovel on the finished grave to pack
     the dirt, then smooths the area over to destroy any markings.
     He is sweaty, dirty, and tired.  But his manner is cool and
     efficient as he concentrates intently on the matters at hand.
     He runs upstairs, hopping over the bloody spot where Archie's
     body used to be.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Todd bursts through the door.  He notices the old man in his
     chair.  Dussander doesn't look good.  Todd levels his eyes at
     him.  His voice snaps with the authority of an S.S. commander.

                          TODD 
             Where's the fucking pinesol?  

     Dussander points to the cabinet under the sink.  Todd throws the
     door open and pulls out bottles of cleaner.  

                          TODD (CONT'D)
             Rags.  I need rags.  

                          DUSSANDER 
             Cellar.  Under the stairs.  

     Todd checks the clock, it is 9:25.  He gets the bottle and a
     bucket and goes for the cellar.  


     INT. DUSSANDER'S BASEMENT - NIGHT

     A SERIES OF SHOTS showing Todd cleaning up the mess.  He is on
     the stairs sponging up the blood.  Then we see him skimming the 
     area where the pool of blood was with the shovel.  The NEXT SHOT
     has him sprinkling fresh dirt over the same area.  Then, on his
     knees, he carefully picks up bits of broken glass from the light
     bulb and drops them into a bucket.  In the FINAL SHOT, Todd 
     stands on the steps as his eyes comb the cellar.  The shovel has
     been cleaned and replaced.  The floor looks smooth and even.
     Satisfied, he goes upstairs.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     The table has been put back in its spot.  Todd is in his boxer
     shorts.  A SHOT of a washing machine, somewhere else in the 
     house, shows us that Todd is cleaning his bloodied clothes.  Now
     he is washing the dishes in the sink.  The water in the sink is 
     a murky pink.  He pulls the meat fork from the suds and holds it up.  

                          TODD 
             I ought to run this through your chest, you
             know that?

                          DUSSANDER 
             It couldn't hurt more than a heart attack.  

     He looks at the clock - 10:15.

                          TODD 
             Christ, my parents are going to freak.  

                          DUSSANDER
             Stay calm, boy.  You are doing fine.  

     Todd dries the murder weapon and puts it away.  For a moment he
     slows down, a hint of a smile suddenly comes over him.
     Dussander sees something is different about him.  

                          DUSSANDER (CONT'D)
             What are you thinking about?  

     The sound of Dussander's voice snaps Todd out of his funk.  He
     is all business again.

                          TODD
             Fuck off.  


     INT. DUSSANDER'S KITCHEN - NIGHT - LATER

     Todd is back in his clothes.  He wears a white T-shirt.  He 
     brings a knife up to Dussander's neck and slices down his suit,
     still stained by Archie's blood.  

                          TODD 
             Your pants are okay.  The shoes... no.

     Todd takes off Dussander's shoes and balls them up in the
     tattered suit.  

                          TODD (CONT'D)
             Put this on.  

     He holds up Dussander's bathrobe.  The old man slips into it
     with difficulty as Todd dumps the bloodied clothing into a trash
     bag.  Dussander looks at Todd's T-shirt.  

                          DUSSANDER
             Is that my undershirt?  


     INT. DUSSANDER'S KITCHEN - NIGHT - LATER

     The blood and glass have been removed.  Todd runs a mop over the
     floor.  His job is almost over.  Sweat pours down his face.  The
     same for Dussander.  

                          DUSSANDER 
             Hurry up, for God's sake.  

                          TODD 
             Don't you die on me, you old bastard.  Not
             now.

     Todd puts the mop away.  He surveys the room as before.  
     Dussander does the same.  There is a strange silence as the two
     of them look around the room for anything damning.  

                          DUSSANDER
             I think we're okay.  

                          TODD
             Me too.  

                          DUSSANDER
             Call an ambulance. 

     Todd turns to face Dussander.  He brings his face up to his and
     speaks softly.

                          TODD
             The key.  

                          DUSSANDER 
             What are you talking about?  

                          TODD 
             The safety deposit box.  I want the key...  

                          DUSSANDER
             For God's sake, boy...  

                          TODD 
             I want the key and I want to know where the
             bank is.

     Dussander cannot argue.

                          DUSSANDER 
             Hillcrest Savings on Domingo Avenue.  The key
             is behind the clock on the mantle piece.  


     INT. DUSSANDER'S LIVING ROOM - NIGHT

     Todd goes straight for the mantle.  He moves the clock and finds
     the key.  


     INT. DUSSANDER'S KITCHEN - NIGHT

     Todd holds a blank piece of paper in front of Dussander and
     hands him a pen.  

                          TODD 
             Sign this.  

                          DUSSANDER
             What for?  

                          TODD 
             Sign it.  

     Dussander starts to scrawl his name across the paper.  

                          TODD 
             No!  At the bottom... neatly.

     With great difficulty, Dussander does as he is told.  Todd folds
     the paper and stuffs it into his pocket with the pen.  He picks
     up the phone and dials.  

                          DISPATCHER (V.O.) 
             911 emergency.  Do you need an ambulance?  

                          TODD 
             Yes.  It's my friend, Mr. Du--

     Todd nearly bites his lip in half.  Dussander notices the slip
     and cringes.  

                          TODD (CONT'D) 
             Denker.  He had a heart attack.  

                          DISPATCHER (V.O.)
             Is he conscious?  

                          TODD 
             Yeah, he's awake.  I'm really scared.  The
             address is 9 -- 

                          DISPATCHER (V.O.) 
             We have the address here.  The ambulance is 
             on the way.  It should take about ten
             minutes.  I'll stay on the line with you -- 

                          TODD 
             No.  I have to call my parents.  Just send
             the ambulance -- 

     He hangs up.  

                          TODD (CONT'D) 
             It smells too clean in here.  

     Todd sees a pack of cigarettes on the table.  

                          TODD (CONT'D)
                    (offering)
             Cigarette?  

     Dussander is not amused.  Todd lights two cigarettes and lets 
     them burn down in the ashtray.  He picks up the phone again and
     dials.  

                          TODD (CONT'D) 
             Mommy, it's me.  Let me talk to Dad.  

                          MONICA (V.O.)
             What is it?  

                          TODD 
             Just let me talk to him.  

                          MONICA (V.O.)
             Hold on -- 

                          DICK (V.O.)
             Todd, what's wrong.

                          TODD
             Mr. Denker had a heart attack.  

                          DICK (V.O.)
             Jesus.  Is he conscious?  

                          TODD
             Yeah, he's awake.  

                          DICK (V.O.)
             Thank God.  Todd, call an ambulance.  

                          TODD 
             I did.  They're on the way.  

                          DICK (V.O.) 
             All right, son.  Don't touch him.  I'll be
             there in five minutes.  

                          TODD
             Okay.  

     He hangs up.  He sits down across from Dussander.  The old man
     is near death, but through the slit of an eye he watches Todd.
     The stare between them is lethal.  For a long moment this
     continues until...

                          TODD (CONT'D)
             Fuck!  

                          DUSSANDER 
             What?  What is it?  

                          TODD 
             The letter.  Where is the goddamn letter?  I
             told my parents I came over to read you a
             letter from Germany.  

                          DUSSANDER 
             A letter.  Yes, we'll say it's from Willi
             Frankel -- 

                          TODD 
             We need a letter.  I told them it was your
             nephew, I think.  

                          DUSSANDER 
             My bedroom.  Look in the dresser.  Second, no
             third, drawer... from the top.  There is a 
             small wooden box.  You will have to break it 
             open.  I lost the key.  There are letters,
             very old ones.  From a friend.  All in 
             German.  None of them are signed or dated.  A
             page or two will be fine.  

     Todd turns to go and stops.

                          TODD 
             Are you crazy?  I don't read German, you numb
             fuck.  

                          DUSSANDER 
             Why would Willi write me in English?  If you 
             were to read me the letter in German, I would
             understand even though you would not.  Your 
             pronunciation would be terrible, but I could
             manage -- 

                          TODD 
             All right.  All right.  

     Todd dashes out of the room.  


     EXT. RESIDENTIAL NEIGHBORHOOD STREETS - NIGHT

     Dick's Porsche speeds along the same streets that Todd took two
     hours earlier.  


     INT. DUSSANDER'S BEDROOM - NIGHT

     Todd bursts through the door and drops to his knees in front of 
     the dresser.  He yanks on the drawer.  It comes half way out and
     stops.  

                          TODD
             Goddamn you, come out.  

     The drawer flies out, knocking Todd back.  He digs through it, 
     the contents of Dussander's fake lives spilling about the room.
     He finds the box at the bottom.  As he expected, it is locked.
     Without a moment's hesitation, he slams the box down on the post
     of the bed frame.  It doesn't open, but bits of the frame fly
     across the room.  

     On the third attempt the tiny box shatters.  Todd freezes, cocks
     his head.  Outside he hears the distinct ROAR and sputter of the
     Porsche engine.  He grabs two pages of a letter.  There is 
     nothing he can do about the mess in the room.  He closes the 
     door on his way back to the kitchen.


     INT. DUSSANDER'S KITCHEN - NIGHT - LATER

     Todd enters the kitchen and places the pages on the table just 
     in time to look up and see Dick standing in the kitchen doorway.  

                          TODD
             Dad.  

     We hold on Dick for a moment as he takes it all in: Dussander,
     Todd, and the room.  A hint of uncertainty crosses his face.  


     INT. DUSSANDER'S KITCHEN - NIGHT - LATER

     A PARAMEDIC straps Dussander onto a stretcher.  Todd is talking
     to the other one.  

                          TODD 
             He started laughing at something in the 
             letter.  I don't know what it was, it's in
             German.

     Dick sees the letter on the table and picks it up.  Todd watches
     him.  Without much of a thought, Dick puts the letter back on
     the table.  

                          PARAMEDIC 
             Well, we'll take care of him now.  We're 
             going to take him to St. Luke's.  It's a good
             thing you called when you did.  You saved his
             life.  

     The medics wheel Dussander out.  

                          DICK 
             You did real good, son.  
                    (looking around the room, as if
                    searching for something)
             You did real good...  

     Todd doesn't like Dick's apprehension.  He grabs his father's
     hand and leads him out of the room.  

                          TODD 
             C'mon.  Let's make sure he gets checked in
             all right.  


     INT. HOSPITAL ROOM - DAY

     TWO ORDERLIES push a gurney through the door.  A man in his late
     thirties, DAVID KRAUSS, walks with them.  A NURSE, following
     behind, addresses him.

                          NURSE
             He needs to rest now.  You can come back 
             tomorrow after ten.  

     David approaches the gurney.  Lying prone is BEN KRAUSS, 70.
     David kisses him on the forehead.  

                          DAVID 
             I'll be back in the morning with the girls.  

                          BEN 
             I can't wait to see them.  

     The orderlies lift Ben onto his bed.  

                          NURSE
                    (to Ben) 
             The doctor will be in to see you in a few
             minutes.

                          BEN
             Thank you.

     The orderlies, the nurse and David leave the room.  Ben notices
     his roommate in the next bed.  It is Dussander, who has been
     watching all of this quietly.  

                          BEN (CONT'D)
             My nephew, David.  

     Dussander smiles politely.  

                          BEN (CONT'D) 
             His parents died when he was very young.  He
             is like a son to me.  I have no children of
             my own.

                          DUSSANDER
             I see.  

                          BEN 
             David is very protective of me.  Of course, I
             don't mind.  I enjoy his company.  A few 
             years ago he started working with me at the
             university.  I teach chemistry.  My name is
             Ben, by the way.  

                          DUSSANDER
             Arthur.  

                          BEN 
             A pleasure, Arthur.  What do you do?  

                          DUSSANDER
             I'm retired.  

     Pause.  

                          BEN 
             These tubes in my arm.  No one said they
             would itch like this.  

                          DUSSANDER 
             You will find, in time, you don't notice.  

     Ben looks oddly at Dussander.  The wheels of his memory slowly,
     very slowly, begin to turn.  

                          BEN 
             Well, we'll see.  Looks like I'll be here for
             a while.  I didn't want to alarm my nephew
             just yet, but this break in my leg...  well,
             we'll see what the doctor says.  

                          DUSSANDER 
             Yes, of course.  But for now, you must 
             forgive me, my medication has made me drowsy.
             Do not be offended if I fall asleep.  

                          BEN 
             Don't be offended if I keep talking anyway.  
             It beats wondering if I'm ever going to walk 
             again.  I tell you, my friend, the ways of
             God are not meant to be understood.  

     But Ben's words are lost on a sleeping man.  He continues to
     stare at Dussander.  


     INT. DUSSANDER'S HOUSE - DAY

     Todd comes through the front door, using his key to get in.  


     INT. DUSSANDER'S KITCHEN - DAY

     Todd grabs the letter off the table and stuffs it into a plastic
     trash bag.  


     INT. DUSSANDER'S BEDROOM - DAY

     Todd manages to get the drawer back into the dresser.  He throws
     all the remaining debris and bits of wood into the trash bag.  He
     goes to the closet and searches through the clothes.  He 
     finds the S.S. uniform, now tattered from many night of fitful
     sleep, and places it in the trash bag.  


     INT. HILLCREST SAVINGS AND LOAN - DAY

     The BANK CLERK behind the counter is a fat, elderly woman, 
     pleasant-faced and not too sharp.  Todd stands solemnly on the 
     other side of the counter.  She stares hard at a piece of paper.
     We see that it is a note: "Please allow my grandson, Todd, to
     retrieve my insurance documents from my safety deposit box.  
     Thank you, Arthur Denker."  It is Dussander's phony signature
     at the bottom.  

                          TODD 
             He's really sick. ...Please.

     The woman looks up at Todd, the key in his hand, then back down
     at the note.  


     INT. BANK SAFE - DAY

     The woman inserts her key into the first lock and Todd does the 
     same in the second.  A moment later he is holding the box in his
     hands.  

                          BANK CLERK
             I sure hope your granddaddy feels better.
             You can bring that in here.  

     She escorts him to a small room where he can view the contents
     of the box.  She leaves.  


     INT. BANK - SMALL ROOM - DAY

     Todd puts the box on a table and opens it.  It is nearly empty:
     a few old photographs, some financial records.  There is no
     document.  Todd is swept up in a wave of emotion-- anger,
     relief, contempt.  He's been played like a fool, but is 
     nonetheless grateful.  Ultimately, he is so overwhelmed a laugh
     springs from his lips.  

                          TODD
             Son of a bitch.  

     He scoops out the contents of the box and puts them in his pocket.  


     INT. BANK SAFE - DAY

     On the other side of the door, the clerk listens curiously to
     Todd's words.  She pushes her ear against the door to hear more.  


     EXT. WOODED AREA - DUSK

     Todd has dug a hole in a remote location.  He empties the
     letters, the S.S. uniform, and the contents from the safety 
     deposit box into the hole.  A little lighter fluid.  A match.
     Todd watches the evidence burn.  


     INT. HOSPITAL ROOM - DAY - LATER

     Todd stands next to the bed holding a small clump of flowers.
     Dussander notices the bouquet.  

                          DUSSANDER
             You shouldn't have.  

     Todd is aware that Ben is listening, even though he is 
     pretending not to.  Todd goes to put the flowers in a glass of
     water.  He sets the glass on the table by the bed.  

                          TODD 
             They're from my mother.  

     He sits in the chair by the bed and lowers his voice.  

                          TODD (CONT'D)
             Here.  

     He flicks a tattered photo onto the bed.  We recognize it as one 
     from the safety deposit box.  It is a black and white portrait
     of a woman and a small boy.  

                          TODD (CONT'D) 
             Everything else I burned.  

     Dussander grins weekly.

                          DUSSANDER 
             I had to protect myself from you, boy.  

     Todd drags a screen over to prevent Ben from hearing.  Long pause.  

                          DUSSANDER (CONT'D) 
             I suspect that we shall never see each other
             again.

                          TODD 
             No, I don't think we will.  

     Dussander looks almost hurt to hear Todd say it.  Pause.  

                          TODD (CONT'D)
             Well, I better go.  

                          DUSSANDER 
             Wait, boy... There is something I want to ask
             you.  

                          TODD
             What?  

     Dussander waves him over with his finger.  Reluctantly, Todd
     brings his ear an inch from Dussander's mouth.  

                          DUSSANDER 
             ...Was it like you thought?  

     Todd pulls his head back, stands up.  He contemplates the 
     question, ...confessing.  He touches Dussander on the shoulder.  

                          TODD
             I should go.  

     He turns for the door.  

                          DUSSANDER 
             Perhaps... perhaps I could persuade you to
             wait here just until I fall asleep.  This
             medicine makes me quite woozy... please.  

     Todd resigns himself to stay.  He picks up a magazine and begins
     to read, not even looking at Dussander.  


     INT. HOSPITAL ROOM - DAY - LATER

     Todd emerges from behind the screen toward the door.  Dussander
     is asleep.  

                          BEN 
             Excuse me, young man.  

     Todd is startled.  

                          BEN (CONT'D) 
             You're a fine boy to visit your grandfather
             like that.  

                          TODD 
             Thanks.  But he's just a friend.

                          BEN 
             Is that right?  Well, you are a good friend 
             to him.  Tell me, is he bad off?  He doesn't 
             talk much.

                          TODD 
             The doctors say he'll be out soon.  

                          BEN 
             That is good news, indeed.  Tell me, from the 
             way he speaks I'd guess he's been
             naturalized, like me.  Is he?  

     Todd is starting to be wary of where this is going.  

                          TODD 
             He's from Germany... From Essen.  Do you know
             that town?  

                          BEN 
             I was only in Germany once.  I'm Polish.  
             Originally, I mean, I'm from Radom.  I wonder
             if he was in the war.  

                          TODD 
             I really couldn't say.  

                          BEN 
             It doesn't matter, I suppose.  It was a long
             time ago, the war.  Soon in this country we
             may have a president born after the war was
             over.  How about that?  

     Todd starts to leave.  

                          TODD 
             I'm sure you're right.  

                          BEN 
             Your friend is lucky to have you.  A great 
             man once said, 'No man is an island entire of
             itself.' 

                          TODD 
             John Donne.  Take care, sir.  

     Todd heads for the door.  He stops, turns back to Dussander's
     bed.  He contemplates something... waking him.  He decides
     against it.  

                          TODD (CONT'D)
             Good-bye.  

                          BEN
             Good-bye.  

     Todd exits.  Ben sits quietly for a moment, thinking.  He turns
     on the television-- "The Price is Right".  We hear it over the
     following.  Ben glances over at the screen which separates him
     from Dussander.  Slowly his eyelids begin to get heavy.  He
     starts to nod off.  But as sleep begins to envelope him, his 
     eyes suddenly fly open.  A surge of terror burns across his
     face.  

     He sits up frightened.  A single crutch stands next to the bed.
     He grabs it.  He strips away his covers and the restraints on 
     his leg, once or twice shoving his hand over his mouth to quell
     a painful scream.  He gets to his feet awkwardly, hobbling, 
     half-dragging his bad leg.  Every step he takes is a study in
     agony.

     ANGLE on the screen.  It slides out of the way, revealing Ben 
     staring down at the sleeping Dussander.  In the pained struggle
     to keep silent, he brings his face right up to Dussander's,
     close enough to smell his breath.  


     INT. HOSPITAL CORRIDOR - CONTINUING

     Ben stumbles out of his room into the hall.  The crutch falls to
     the ground.  He slides against the wall toward the nurses' 
     station.  Tears stream down his face.  As he clutches the wall,
     we glimpse the faded green numbers on his forearm.  

     He reaches the nurse's desk.  She is on the phone.  He grabs her
     by the shoulder and pulls her face up into his.  She lets out a 
     startled SCREAM.  But Ben's emotion stops her from resisting.  
     He is sobbing uncontrollably.  Orderlies appear and pull him off
     of her.  He collapses to the ground, consumed by grief.  

                                                                BLACK.


     INT. HOSPITAL ROOM - DAY

     Dussander slowly wakes up for the first time since his surgery.  
     A large black man, DARREN, stands above him changing the IV bag.
     He notices Dussander is awake.  Dussander's voice is low and
     hoarse from hours of sedation.  

                          DUSSANDER
             Where's the nurse?  

                          DARREN 
             My name is Darren.  I'll be taking care of 
             you from now on.  I'll tell the doctor you've
             woken up.  

     Darren finishes with the IV unit and goes to the door.  
     Dussander watches him, a bit puzzled, but his eyes are closed
     again before Darren is out of the room.  


     INT. HOSPITAL ROOM - DAY - LATER

     Dussander wakes up again.  Something is different in his room.  
     He looks to the table next to him.  All his magazines are gone.
     He looks to the other side of the room.  Ben is gone, his bed
     stripped of all linen.  Finally he looks to the door.  It is 
     cracked open.  Two men in suits are talking in the hallway.  One
     we will come to know as Detective GETTY.  The other is a
     subordinate.  Dussander is clearly bothered by what he sees.  He
     reaches over for the call button and rings it several times.  

     A moment later Darren comes in.  Getty sees this and stops
     talking.  He watches Dussander from the hall.  

                          DARREN 
             Did you need something?  

                          DUSSANDER 
             What is going on here?  Where is Ben?  

                          DARREN 
             Mr. Krauss has been moved.  I'm going to give
             you something.  It will help you sleep.  

     Darren readies Dussander's arm for an injection.  

                          DUSSANDER 
             I don't want it.  Who is that man?  

     Before Dussander can protest, Darren sticks him with the needle.  

                          DARREN 
             Your surgery was a success.  Just try to
             relax.

                                                        FADE TO BLACK.


     INT. HOSPITAL ROOM - MORNING

                          WEISKOPF (O.S.)
                    (in German)
             Wake up.  Wake up, old man.  

     Dussander's eyes open.  The first thing he sees are three men,
     all in suits, standing over him.  

                          DUSSANDER (in German)
             Are you speaking to me?  

     The voice comes from WEISKOPF, 40's.  His suit is dark gray, 
     well tailored, probably European.  He speaks eloquently despite
     an accent that shows roots of Europe and the Middle East.  

                          WEISKOPF
                    (back in English)
             No one else is here.  

     Dussander looks over at Ben's former bed.  

                          WEISKOPF (CONT'D) 
             Mr. Krauss is recuperating elsewhere.  Are
             you awake now, Dussander?  

                          DUSSANDER 
             Yes, of course, but you seem to have me
             confused with someone else.  My name is 
             Arthur Denker.  Perhaps you want a different
             room -- 

     Weiskopf sits on the edge of the bed.  Dussander notices the pin
     on his lapel.  A small, silver Star of David.  

                          WEISKOPF 
             My name is Weiskopf.  You are Kurt Dussander.  

                          DUSSANDER 
             I know no one by that name.  Shall I ring for
             the nurse?  

     Dussander reaches for the Call button and stops in horror.  He 
     looks at his hands.  His fingertips are smeared with black ink.
     He looks up at the men in disbelief.  

                          WEISKOPF
             The man in the next bed was Benjamin Krauss.
             He was imprisoned for ten months at Patin.
             You were responsible for the death of his 
             wife and two daughters.  His identification
             of you was quite specific.  I'm sure his 
             reward from my government will help offset
             the burden of his broken leg.  

                          DUSSANDER 
             My name is Arthur Denker.  I am an American-- 

                          WEISKOPF
             Please don't bother.  Your papers will not 
             stand up to serious examination and you know
             it.  

     The detective, GETTY, snaps a few pictures of Dussander.  The
     other man is FBI Special Agent DAN RICHLER.  

                          RICHLER 
             We have all we need here, Isaac.  

                          DUSSANDER
             Who are you men?  What are your names?  

                          RICHLER 
             My name is Richler, FBI.  This is Detective
             Getty from the Orange County Sheriff's
             Department.  

                          WEISKOPF 
             And I think you know who I work for.  When
             you get your strength back, you will be 
             moved.  Until then, this entire ward will be
             under surveillance.  You can expect to be in
             Tel Aviv by the end of the summer.  

     The three men are out the door.  


     INT. TODD'S BEDROOM - NIGHT

     Todd's room is dark as he lies on the floor, writing something 
     on a pile of index cards.  The only light comes from the hallway
     through the open door of the bedroom.  Todd is deep in thought,
     but from the bits of shredded index cards we can tell the
     writing is not coming easily.  

                          TODD 
             The road ahead reveals itself, uh, God, no.
             The road ahead... grrrr, The fucking road
             ahead.

     Monica appears in the doorway.  

                          MONICA 
             Todd?

     Todd doesn't notice her.  He stares down at the card.  Finally he
     looks up, as if it took her voice a few seconds to register in
     his mind.  His response is hardly audible.  

                          TODD
             Huh?  

                          MONICA 
             What are you doing there in the dark?  

                          TODD
             Oh, ...working.  

     Monica reaches in to his room to turn on the light.  She touches
     the switch but then pulls her hand back.  Todd is back at the 
     note card.  She looks at him oddly, worried, but then steps away
     from the door and goes downstairs.

     Todd's lips are moving, as if he were speaking to himself.  He
     pauses.  Then, in a sudden gust of inspiration begins to write
     furiously.  He finishes and stands up, catching his reflection 
     in the mirror above his desk.  In the eerie half-light, he
     stares at the ghost-like image of himself.  


     EXT. HIGH SCHOOL - FOOTBALL FIELD (GRADUATION) - DAY

     Todd, in cap and gown, is seeing his parents to their seats in 
     the second row.  Ed French comes up to Todd and puts his hand on
     his shoulder.  Todd is startled.  

                          TODD
             Mr. French.  

                          FRENCH 
             Hello, Todd.  It's your big day, isn't it?  

     They shake hands.  French sees Dick and Monica sitting behind
     Todd.  Before Todd can stop him, he introduces himself.  

                          FRENCH (CONT'D)
             These must be your parents.
                    (extends hand) 
             Hi, Ed French.  It's good to finally meet
             you.  

     Dick and Monica are the picture of happiness, hardly the
     dysfunctional drunkards that French believed them to be.  They 
     all shake hands.  

                          DICK 
             Dick Bowden, nice to meet you.  This is my
             wife, Monica.  

                          MONICA 
             Are you one of Todd's teachers?  

     French is a bit puzzled.  

                          FRENCH
             No.  I'm his guidance counsellor.  

     A WOMAN behind Monica taps her on the shoulder.  

                          WOMAN
             Monica, I thought that was you.  

     Monica turns away from French.  Suddenly, the band strikes up
     opening notes to "Pomp and Circumstance."

                          TODD
                    (to French)
             That's our cue.  

                          FRENCH
                    (to Dick) 
             It was nice meeting you.  

                          DICK
             You too.  
                    (to Todd)
             Good luck, son.  

                          FRENCH 
             I'll talk to you and your wife after the
             ceremony.  

     Todd and French dash off in different directions.  


     EXT. GRADUATION - DAY - LATER

     Standing at the podium is a black, female graduate, TASHA 
     LITTLE.  She is reading the end of a poem by Emily Dickinson.  
     Principal Morgan and Todd sit in chairs next to the podium. In
     the b.g. is the graduating class, Joey is among them.   French
     sits among the faculty, who are lined up to the right of the
     podium.  

                          TASHA 
             Thy sacred emblems to partake -
             Thy consecrated bread to take 
             And thine immortal wine!  

     There is polite applause from the audience as she takes her seat
     and Morgan goes to the podium.  

                          MORGAN 
             Thank you, Miss Little for that superb
             invocation.

     Pause.  More applause.  

                          MORGAN (CONT'D) 
             And now it gives me great pleasure to
             introduce a young man who's academic 
             achievement at this institution stands as
             testament to the power of hard work and 
             determination.  Todd had a tough time a few
             months ago, so by God, he buckled down, hit
             the books, and pulled himself through it.  

     Todd's eyes scan the crowd indifferently.  He notices Becky,
     seated in the audience near some friends.  

                          MORGAN (CONT'D)
             Ladies and gentlemen, students and faculty,
             here to deliver the student remembrance for 
             the class of 1985, this year's valedictorian,
             Todd Bowden.

     The crowd burst into applause.  


     EXT. DUSSANDER'S HOUSE - DAY

     A half dozen police cars are in front of the house.  One OFFICER
     is blocking off the entire yard with yellow tape.  A news van
     pulls up.


     EXT. GRADUATION - DAY - CONTINUING

     Todd shakes Morgan's hand and takes the podium.  The crowd
     quiets.  Todd begins: 

                          TODD 
             We all have dreams that we carry with us.
             Perhaps it is a dream of prosperity, or 
             happiness.  But now, so early in our lives, 
             it seems that all we should ask for is to be
             at peace with the world, because only then
             can we be at peace with ourselves.  


     INT. DUSSANDER'S HOUSE - DAY

     Weiskopf and Richler, both wearing rubber gloves, are carefully
     looking through the contents of Dussander's dresser.  They pour
     over everything, placing some items in clear plastic bags.  A
     few DEPUTIES are milling around.  Richler picks up a small
     photograph of a young woman.  Todd's voice comes in: 

                          TODD (V.O.)
             We learn from our education that we are the 
             master's of our own destinies.  We learn what
             it is that separates us from the others, why
             we are special.  

                          RICHLER
             What about this?  

                          WEISKOPF 
             Yes.  All photographs.  

     Detective Getty comes in.

                          GETTY 
             You boys better come down to the cellar.
             You're not going to believe this.  


     INT. DUSSANDER'S BASEMENT - DAY

     Getty comes down the steps followed by Weiskopf and Richler.
     Weiskopf gazes across the cellar.  Whatever he sees disturbs
     him.  He turns away and goes back up the stairs.  

                          TODD (V.O.) 
             Each of us have unique talents and interests
             unlike those of anyone else.  The challenge 
             now, as we stand at the doorway to adulthood,
             is to channel our abilities into our goals.  

     Richler, moves to the rail and looks out, disgusted.  He pulls a
     handkerchief from his pocket and covers his nose and mouth.  A
     DEPUTY, wearing rubber gloves, carries the shovel up to him.  


     EXT. GRADUATION - DAY - CONTINUING

     As Todd speaks, he notices his parents, Becky, various teachers.
     His eyes stop on Ed French, who is looking oddly at something in
     the crowd.  

     ANGLE ON FRENCH 

     French notices an elderly couple walking down the aisles of
     seated spectators as if they are looking for someone.  

                          TODD (O.C.) 
             We forge our own paths.  Our education is but
             a stepping stone to the world.  

     They are Victor and Agnes Bowden, looking for Dick and Monica.
     Todd sees them too.  He pauses almost imperceptibly.  He looks
     back at French.  

                          TODD (CONT'D) 
             Our.. Our true destinies await us.  There we
             become the...

     Todd's grandparents come down the aisle to see Dick and Monica
     in the second row.  They start to slide in, causing a slight
     ruckus.  Dick is surprised to see his parents, but smiles and
     makes room for them.  French watches all of this curiously.  

                          TODD (CONT'D) 
             There we become the men and women that will
             make a difference.  But we must take away 
             from this place a sense of purpose for
             ourselves.  We now begin to see the road 
             ahead.  It is a road from which we cannot
             veer.

     A connection is made between French, Todd, and the Bowden
     family.


     EXT. GRADUATION - DAY - LATER

     Morgan is reading the last of the names as the graduates file
     past and collect their diplomas.  

                          MORGAN 
             Andrew Woodman... Donald Young... Karmisha 
             Youngblood... David Zedek... Kyle Zuckerman.
             The graduating class of 1985.  

     The crowd cheers as the graduates throw their caps into the air.
     The band begins to play.  

                          MORGAN (CONT'D) 
             Now we invite all the friends and parents to
             join the students and faculty in the main
             courtyard for refreshments.  

     Todd, still pale, bolts off the stage.  He reaches his parents.
     French starts to walk down to the Bowdens.  Todd goes up to his
     mother.  

                          MONICA
             Honey.  

                          TODD 
             Mom, I don't feel so good.  

                          MONICA
             What's wrong?  

                          TODD 
             I don't know, I feel like I'm going to pass
             out.  Can we go home?  

                          AGNES 
             You looked real good up there, Todd.  

     Todd ignores her.  

                          DICK 
             Don't you want to see your buddies?  

                          TODD 
             I want to go, Dad.  Right now.  

     Todd and his family start off.  As they leave the CAMERA MOVES
     to show Ed French working his way through the crowd past the
     spot where they had been standing.


     INT. HOSPITAL ROOM - NIGHT

     The following series of images appear under music:

     The quiet wing of this hospital has transformed into a frenzied 
     sea of reporters, cameramen, photographers, and police officers.
     Everyone is struggling for a glimpse of the infamous celebrity
     through the window that looks into Dussander's room.  Inside, 
     Weiskopf and Richler are speaking to the doctors.  Getty stands
     to the side, instructing the DEPUTY who guards the door.  

     Through all of this Dussander lies like a fossil in his bed as
     the bodies whirl around him.  Darren enters the room to change
     Dussander's IV bag.  

     Suddenly the door flies open and a young photographer dashes in,
     snapping pictures wildly.  Getty and the other officers descend
     upon him.  The camera flashes.  Other photographers try to get
     in but are blocked.  Pandemonium.  

     Yet Dussander seems oblivious to the commotion.  His eyes are
     nothing more than glazed slits, his mouth hangs open.  Darren 
     runs toward the door to help.  Dussander's eyes open slightly.
     There is life behind them after all.  He turns his attention
     imperceptibly toward his IV bag...  

     The camera moves away from Dussander to the window.  Outside in
     the parking lot, groups of protesters have gathered.  Some hold 
     candles.  Others chant and wave signs.  News reporters surround 
     them.


     INT. LIVING ROOM - BOWDEN HOUSE - DAY

     ANGLE on a ticking wall clock.  

     Todd appears apprehensive as he sits down on the couch next to 
     his mother.  She puts her arm around him.  He is pale and
     glassy-eyed.  His parents don't look much better.  Dick is
     especially nervous and stands off to the side, watching everyone
     intently.  Richler and Weiskopf sit across the room in chairs.  

                          RICHLER 
             Todd, my name is Dan Richler.  I'm a special 
             agent with the FBI.  This is my associate, Dr.
             Weiskopf.  

                          WEISKOPF
             Hello.  

                          DICK 
             What kind of doctor are you?  

                          WEISKOPF
             I'm a school teacher.  

                          RICHLER 
             Dr. Weiskopf is a professor at the Judaic
             Institute in Munich.  He is assisting the 
             Israeli government in certain matters.  He is
             here today, only as an observer.  

     A moment passes between Weiskopf and Todd.  

                          RICHLER (CONT'D) 
             Thanks for calling us up, Mr. Bowden.  You 
             saved us the trouble of tracking through the
             911 records.

                          DICK 
             Actually, it was Todd's idea to call.  He 
             thought... we thought there might be some way
             we could help your investigation.  

                          RICHLER 
             Todd, if you wouldn't mind, I'd like to hear
             about your involvement with Dussander... but
             you knew him as Arthur Denker, right?

                          TODD
             Yeah.  I never knew of that other name till I
             saw it in the paper.

                          RICHLER
             How did you know him?  

     Todd starts to rub his stomach.

                          TODD
             I met him at the movies.  Last summer.  ...He
             asked me where to pick up the number seven
             bus.  He said his eyes weren't too good.
             ...Will you excuse me for a minute?  

     He gets up before Richler can answer walks toward the stairs.  

                          MONICA
             You okay, honey?  

                          TODD 
             I just gotta use the bathroom.  I'll be right
             back.  

     He vanishes up the stairs.  They all watch him go.  Monica turns
     to Richler.

                          MONICA 
             He's not feeling well.  

     ANGLE on Dick.

                          MONICA (CONT'D)
             Can I get you some coffee?  


     INT. BOWDEN HOUSE - BATHROOM - DAY

     The faucet runs at full blast to hide the noise as Todd digs 
     through the medicine cabinet and takes out a bottle of Pepto-
     Bismol.  He takes off the cap and gulps down what is left in the
     bottle.  He finishes and takes a few deep breaths.  

     As he turns around he catches his reflection in the mirror.  An
     empty bottle in his hand, a bright pink ring around his lips, a 
     few pink splotches down his shirt-- he looks totally ridiculous.
     Todd can't help but laugh.  


     INT. BOWDEN HOUSE - LIVING ROOM - DAY

     The interview continues.  The clock ticks on.  Richler drinks
     from a coffeee cup.  Todd is back in his seat.  

                          RICHLER 
             Todd, let me tell you what we're really 
             interested in here.  You told the admitting 
             nurse that Denker had a heart attack while 
             you were reading him a letter.

                          TODD 
             That's right.  I was.  That's what I was
             doing there.  It was in German but he 
             insisted I try to read it anyway.  Once or
             twice he got pissy about the pronunciation 
             but I asked him what did he want from me.  I
             don't speak German.  Mr. Denker...
             Dussander... got really excited at one point.
             He yelled out, "Yes, that's what you would do
             all right." but I didn't know what he was 
             talking about.  Then he grabbed his chest.  

                          RICHLER 
             And that's when you called the ambulance,
             right?

                          TODD
             That's right.  

                          RICHLER 
             Well, this is the part we can't figure out.
             The letter itself, Todd... do you remember
             what happened to it?  

                          TODD 
             I guess it was still on the table.  I
             couldn't swear to it, but --

                          DICK 
             Wait, I saw a letter.  It was in German.  I
             didn't think anything of it at the time.
             But, yeah, it was on Airmail stationery.  

                          RICHLER 
             Then it should still be there.  This is our
             problem.  

                          DICK
             It isn't?  

                          RICHLER
             No.  

                          MONICA 
             Maybe somebody broke in.  

                          RICHLER 
             Why would somebody break into his house 
             simply to steal a letter? ...Unless... there
             was someone... someone right here in Santo
             Donato who would want to protect him for some 
             reason.  Maybe a close friend, or even 
             another fugitive.  I know it sounds like a
             bunch of Robert Ludlum stuff, but when
             Dussander was taken to the hospital, we think
             our Mr. X scooted over to the house and
             swiped the letter.  

                          TODD 
             That doesn't make sense.  

                          RICHLER
             Why not, Todd?  

                          TODD 
             Well, if Denk... if he had an old Nazi buddy
             in town, why didn't he come over himself and
             read the letter to him?  If you could have 
             heard the way he corrected me at every word--

                          RICHLER 
             A good point.  Except maybe this other fellow 
             is in a wheelchair, or blind.  

                          TODD
             Guys that are blind don't normally go
             scooting out to steal letters.

                          RICHLER
                    (smiling) 
             True.  Did Dussander have any friends that
             you knew of?  

                          TODD
             No, not really.  

                          RICHLER 
             How about phone calls?  

     Pause.  

                          TODD 
             No, I heard his phone ring maybe five or six
             times in all the time I knew him.  It was
             never anything out of the ordinary.
             Salesmen.  Wrong numbers.  

                          RICHLER 
             Did you ever hear him speak German on those
             occasions?  

                          TODD
             No.  He hardly ever spoke German.  He always
             said he would teach me someday, but he never 
             got around to it.  

                          WEISKOPF 
             Did he ever talk about his past?  

     Todd looks at Weiskopf.  This is the first question he has asked
     and Todd is more wary of him than of Richler.  Todd shrugs
     innocently.

                          TODD 
             Not really.  Little bits, I guess.  

                          MONICA 
             Well, don't you remember what he told us at
             Thanksgiving?

     Todd looks at her.  

                          MONICA (CONT'D)
             He said he was in college-- 

                          DICK 
                    (shutting her up) 
             Monica.  They don't care what we know, they
             care what Todd knows.  

     Silence.  Richler notices the tension in the room.  He looks at
     Weiskopf.  Finally, he speaks to Dick.  

                          RICHLER 
             Look, I'm sure this whole thing has come as a
             terrible shock.  I think we've done enough
             for the day.  

     He and Weiskopf stand.  Dick is almost surprised that they are
     leaving so soon.  

                          WEISKOPF 
             Thank you, Todd.  Mr. and Mrs. Bowden.  

     Weiskopf nods good-bye.  

                          DICK 
             Wait a minute... Agent Richler, before you 
             go--  Todd's not a suspect in this, is he?  I
             mean he's just talking to you, right?  

                          RICHLER
             That's right.  

                          DICK 
             Because Todd always thought he was helping 
             that old man.  We didn't know any of this
             before today.  

                          RICHLER 
             Mr. Bowden, you and Todd have nothing to 
             worry about.  I assure you.  Your son has 
             been a great service to us.  Thank you, Todd.
             For now that's all we need.  Our next step is
             to turn that house upside down.  We're
             bringing in some special teams to look 
             through everything.  We may come up with 
             something.  We'll be in touch if we need you.  

     They are almost to the door, when Richler stops.  

                          RICHLER (CONT'D)
             Oh, Todd, by the way....
                    (casually, pulls a photo out of a
                    folder he is carrying) 
             Have you ever seen this man before?  

     He holds the photo up to Todd.  It is a picture of Archie in
     military dress, probably a blow-up of his military ID.  Todd
     stares at it for a moment.  His face shows no reaction.

                          TODD
             No.  

                          RICHLER
             Okay, thanks.  

     He smiles.  Weiskopf opens the door and the two men leave.  


     INT. BOWDEN HOUSE - TODD'S BEDROOM - DAY

     From his window Todd sees Richler and Weiskopf talking by their
     gray sedan.  

                          TODD 
             You'll be back, won't you boys?  Won't you,
             Special agent Jackoff.  You and the sheeny 
             professor. ...I know, let's show him an old
             army picture, that'll screw him up. ...Fuck
             you.  Fuck-You.


     INT. BOWDEN HOUSE - UPSTAIRS HALLWAY - DAY

     Dick is half-way up the stairs when he hears yelling coming from
     Todd's room.  He pauses a moment.  Most of Todd's words aren't
     clear, but the profanity sure is...  


     INT. BOWDEN HOUSE - TODD'S BEDROOM - DAY

     After a moment, the sedan pulls away.  Todd turns away from the
     window and we see that he is holding the barrel of the rifle in 
     one hand and the scope in the other.  

     He takes a few breaths, tries to calm down.  A burst of nervous
     laughter slips out of him.  

     There is a KNOCK at the door.  Two seconds later Dick comes in.  

     DICK'S POV: Todd stands in the middle of his room.  The gun
     pieces are nowhere in sight.  

                          DICK 
             Everything all right, son?  

                          TODD
             Yeah... fine.  

                          DICK 
             You sure?  

                          TODD
             I'm fine, Dad.  

                          DICK 
             Your mother and I feel terrible... like we...  

                          TODD 
             It's not your fault.  

     Dick grabs his son and pulls him close.  Todd doesn't know how
     to respond.  For Dick, it is like hugging a phone pole.  He 
     knows something is terribly wrong.  Todd stands stiff in his
     father's arms until he releases him.  

                          DICK 
             You know we love you, don't you?  

                          TODD
             I know, Dad.  

     He smiles at his father, comfortingly.  Dick is not comforted.  

                          DICK 
             Look, ahh, your mother and I are going to go
             down and talk to our lawyer.  I don't want
             you to worry about a thing.  It's just a 
             precaution.  I don't trust these cops.  We're
             not going to be gone long.

                          TODD 
             Don't worry about me, I'll be fine.  

                          DICK 
             Your old man is on top of things, all right?
             I am going to take care of this.  

                          TODD
             I know, Dad.  

     Dick kisses Todd's forehead.  He turns to leave and stops.  

                          DICK 
             This afternoon, if you're up for it, we'll go
             do something.  How 'bout it?  

                          TODD
             Sure.  

     Dick tries to smile and goes out, the door, leaving Todd alone.


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     The garage door opens and Dick backs the Porsche into the
     street.  Monica is with him.  Todd, from the upstairs window, 
     watches them go.  


     INT. BOWDEN HOUSE - BATHROOM - DAY

     Todd is near the end of his rope, trying to hold himself
     together.  We see him splashing water on his face in the 
     bathroom.  He gazes into the mirror, transfixed by the ghost- 
     like image reflected back at him.  Todd pounds his fist against
     the sink.  He can stand it no longer.  He darts out of the
     bathroom.  


     EXT. HOSPITAL ENTRANCE - DAY

     Todd drives his mother's Honda wagon towards the entrance of the
     hospital and for the first time witnesses the scope of
     Dussander's discovery.  News vans are everywhere.  The 
     protesters have grown in number.  A line of cars wait for 
     admittance into the parking lot.  A policeman stands a few feet
     away from Todd, directing cars in, turning others away.  He is
     moving toward Todd.  Horns honk around him.  Todd sees that more
     police officers are standing by the door of the hospital.  The
     nearby policeman notices Todd and walks closer.  Todd doesn't
     wait.  He pulls the car out of line and drives off.


     INT. HONDA WAGON - DAY

     Todd holds the steering wheel with a white-knuckled grip.  His 
     face is sweaty and flushed.  He rocks back and forth as he tries
     to reassure himself...  

                          TODD 
             We're okay.  We're okay.  We're o-kay.

     He is almost calm when he nears his house.  But it doesn't last.
     He sees something he can hardly believe.  

                          TODD (CONT'D)
             You got to be fucking kidding me.


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     An old Vo1vo is parked on the street in front of the house.
     Standing on the porch, sneakers and all, is Ed French.  Todd 
     pulls into the driveway and gets out.  French has a cautious air
     about him as he walks toward Todd.  

                          FRENCH
             Hello, Todd.  

                          TODD 
             Mr. French, what brings you to the wild side
             of town?  

     The two of them are standing on opposites sides of the car.  
     French pulls a folded newspaper page from his pocket.  He starts
     to move around the car toward Todd, but Todd circles the other
     way, keeping the car in between himself and French.  

                          FRENCH 
             Todd... I found something troubling in the
             morning news.  Are your parents home?  

                          TODD
             No.  

                          FRENCH 
             I know the man in this picture is the man who
             came to see me.  

                          TODD 
             It's sort of a bad time right now.  Why don't
             you go home?  

                          FRENCH
             I will.  But first I need a couple of things
             explained to me.  


     INT. HOSPITAL - OUTSIDE DUSSANDER'S ROOM - DAY

     Richler is speaking to the reporters.  Cameras and lights are in
     his face.  His words are low, serving as a backdrop, but we can 
     tell that he is telling them of the plans to relocate Dussander.
     Weiskopf stands close by...  

                          FRENCH (V.O.) 
             Todd, why don't you tell me what happened?  


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     While Todd almost seems to be enjoying this odd dance around the
     car, French does not.  

                          TODD 
             You know, Mr. French, sometimes one thing
             just leads to another and before you know 
             it... things get out of control.

                          FRENCH 
             I'm afraid that's not much of an answer, 
             Todd.  When do you expect your parents home?  

                          TODD 
             I don't know, Ed.  You want to come in and 
             wait?  I'll put on a pot of tea.  We'll talk
             about old times.  

                          FRENCH 
             I think you might need some help, Todd.
             That's why I'm here.  


     INT. HOSPITAL - DUSSANDER'S ROOM - DAY

     Dussander is alone in the room as Richler addresses the 
     reporters outside.  His eyes open wide and his movements are the
     liveliest they have been since he was discovered.  He reaches 
     over to his IV unit and begins to disconnect the tube from the
     bag...

                          TODD (V.O.) 
             You know?  You're right.  I do need help.  I
             really do.  


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     Todd becomes more animated, more threatening with every word.
     Somehow it is as though French is now retreating from Todd as
     they circle the car.  

                          FRENCH 
             Let me help you, Todd.  I want to.  You're
             too smart to do anything crazy.

                          TODD 
             Can I ask you something, Ed?  You don't mind
             if I call you Ed, now that I'm out of your
             fucking school, do you?  

                          FRENCH
             What?  

                          TODD 
             You know all this crap you see on TV about
             forensics... hairs and fibers, that stuff?  
             How much of it do think is true and how much
             is just bullshit?  

     French is puzzled by the question.  He has no answer.  

                          TODD (CONT'D)
             Oh, how would you know?  You're a fucking
             guidance counsellor.

     French stops.  

                          FRENCH 
             Todd, this is silly.  Why don't we go inside?  


     INT. HOSPITAL - DUSSANDER'S ROOM - DAY

     Liquid spills onto the floor as the tube comes loose from the
     bag.  Dussander sits back and pulls the free end of the tube up
     to his mouth.  His lips wrap around it and his face tightens as 
     he begins to blow....


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     Todd starts moving again.  French does the same.  

                          TODD 
             Here's a little factoid for ya.  I'll bet you
             didn't know this one.  Hairs fall out of your
             head all the time.  But it's even worse when
             you're nervous.  And you know what?  I've
             been real fucking high-strung lately.  

     Todd comes around the rear of the car and stops at the door to
     the back seat.  He opens it.  

                          FRENCH 
             Listen, Todd... Please.  

     Todd bends down to get something from the back seat.  His voice
     is muffled from the inside of the car.

                          TODD 
             That's how it all happened, you know.  One 
             thing lead to another and before I knew it...

     Todd pops back up holding the rifle, fully assembled and aimed
     at French's chest.  

                          TODD (CONT'D) 
             ...you showed up in my driveway, wearing
             those same fucking sneakers.  

                          FRENCH
             Whoa.  To--

     Todd rapid-fires.  French's chest explodes red as his lifeless
     body sails back onto the grass.  In the front yard, a dozen
     birds evacuate a tree in a panicked exodus.  Todd swoons back on
     his heels, overcome by something.  But it isn't pain, rather,
     it's a rush of pleasure.  A laugh slips out.  


     INT. HOSPITAL - DUSSANDER'S ROOM - DAY

     Dussander takes the tube from his mouth and lets it fall to the
     floor.  The camera moves along the tube and stops at Dussander's
     arm, where it ends.  He lies back in his bed and waits...


     EXT. BOWDEN HOUSE - DRIVEWAY - DAY

     Todd regains his balance.  French stares wide-eyed as Todd steps
     up to him, the muzzle aimed at French's head.  Todd grins
     widely.  For the first time he looks ...happy.

     A single round obliterates half of French's skull.  Todd chokes
     back a giggle like a drunk chokes back a belch.  


     INT. HOSPITAL - DUSSANDER'S ROOM - DAY

     Dussander lurches up in the bed in a spastic, contortive fit as
     the air embolism reaches his heart.  His arm flails against the 
     IV unit, sending it crashing to the floor.  The monitors next to
     him reflect a drastic turn in his condition.  The door flies
     open and a pair of nurses charae in through the swarm of 
     journalists.  Richler and Weiskopf run in and the eager 
     cameramen follow.  The room is bathed in flash explosions as the
     nurses try to subdue Dussander.


     INT. BOWDEN HOUSE - GARAGE - DAY

     Todd throws open a cabinet door above the workbench and eyes the
     boxes and boxes of ammunition.  He lets out a beautifully wicked
     laugh as he dumps all of the cartons into his backpack.  He
     leaves the cabinet door open as he slips the bag over his
     shoulder.


     EXT. BOWDEN HOUSE - DRIVEWAY - STREET - DAY

     Todd zooms out of the garage on his bike, the rifle slung over
     one shoulder, the backpack over the other.  He zips past
     French's body and out into the street.  In the distance, we hear
     the faint, but rising wail of sirens.  

     A front door or two slams shut as Todd passes.  Suddenly he cuts
     up between two houses.  A man standing in his back yard sees 
     Todd and freezes.  Todd ignores him.  He steers the bike through
     the yard and picks up the dirt path he has used so many times 
     before.


     INT. HOSPITAL - DUSSANDER'S ROOM - DAY

     From above we see Dussander's eyes, wide open, motionless.  Yet 
     the expression on his face is one of odd satisfaction.  A doctor
     pounds on his chest, barks orders.  The trauma team prepares the
     defibrillator, but we know they are too late...


     EXT. DIRT PATH - DAY

     Todd rides fast over the dry, rocky ground.  The wind streaks
     back his hair.  His excitement is as palpable as the grin
     dancing across his face.  

     An aerial shot follows him as he angles the bike off the trail 
     and up a steep embankment.  As the camera moves ahead of him, we
     see the crest of the hill, and beyond it...  

     The freeway, teeming with rush-hour traffic.  

     BLACK.