Eichmann Page #10

82 INT. 203 BUS. NIGHT

Eichmann climbs on. Sits beside an old WOMAN. Takes a bag ofher shopping onto his lap to make room.

AHARONI (V.O.)

He works in a Mercedes factory in

Gonzáles Catán. We could grab him

somewhere near there?

MALKIN (V.O.)

It’s too far away. Plus he’s notalone consistently enough.

RAFI (V.O.)

How about his return journey?

Hat tilted to hide his face, RAFI clocks Eichmann, a few rows

in front of him. Jots a note down.

RAFI (V.O.)

There’s a blind-spot. Beside a ditchabout 40 metres from his house.

There’s a bush that should stop anyfamily members spotting us.

50.

83 INT. DINING ROOM. TIRA. DAY

RAFI:

Plus, it’s dark as anything. And the

only time he’s routinely alone.

YAAKOV:

Between us and Garibaldi we can

avoid road-blocks. When it comes to

getting him to the harbour, less so.

84 INT/EXT. VAUXWAGON. NEAR ROAD-BLOCK. DAY

Parked in a residential street, Ephraim chews through a batchof empanadas drenched in chimichurri. Watches something.

MALKIN (V.O.)

OK. So we’ll need our escape routewater-tight.

RAFI (V.O.)

Isser wants Attila back here before

we leave to clarify it’s him.

MALKIN (V.O.)

Ephraim?

Outside, the GUARDS OF A ROADBLOCK change over at the end ofa shift. Ephraim checks his watch. Scribbles down details.

EPHRAIM (V.O.)

Cevallos, Matienzo then down via

Boulogne to here. Far as I can tell,

roadblock soldiers switch at 2000 or

0800. That’s when we slip through.

85 EXT. DECKING. TIRA. DAY

Yaakov pours over a map, marking their escape route in pencil.

On the table across from him, Uzi tinkers with an engine.

UZI (V.O.)

We’re gonna need new cars.

RAFI (V.O.)

What about the ones we’ve got?

Uzi loosens a screw- OIL spurts out, covering Yaakov’s map.

Stares daggers at Uzi, who looks mortified.

YAAKOV (V.O.)

Trust me. We need new cars.

51.

86 INT. EMPTY ROOM. TIRA. DAY

Hanna, Rafi and Aharoni turn this room into a cell. Bolt the

bed to the floor, hammer blankets up over the windows-

RAFI (V.O.)

The plan is to smuggle him onto ameat-packing ship set for WestAfrica. The exact departure timevaries. Weather and tide dependent.

MALKIN (V.O.)

So, we make sure it’s safe to hold

him here at least for a few hours.

Hanna rigs a BELL system to the FRONT DOOR. Checks it works.

Every time the front door opens, the bell RINGS.

87 INT. STUDY. TIRA. DAY

Pouring over his desk, an X-acto knife slices paper. A

magnifying glass, distorting Dani’s pale features. Nearby, asmall stack of passports and some Argentine peso notes.

MALKIN (V.O.)

Dani. Passports? Visas?

DANI (V.O.)

They’re coming, they’re coming!

He sits up, flexing his hand against cramp. As he does, hecasts an eye over the pictures of ladies he’s drawn.

88 INT. DINING ROOM. TIRA. NIGHT

MALKIN:

They need to be ready soon. We

don’t have a second to waste.

89 EXT. BASE OF EMBANKMENT. NIGHT

Malkin goes to clamber up the bank towards the train tracks-

STOPS as he sees a POLICE-CAR driving by. Squat, black andarmoured, Argentine police-cars look more like police-tanks.

MALKIN (V.O.)

This city’s imploding day by day. Weget this done soon, or we’re gonnafind ourselves buried in the rubble.

Finally, they pass. In the ensuing darkness, Malkin climbs.

52.

90 EXT. RAILWAY EMBANKMENT. NIGHT

Rain tumbles down on Malkin, who is in his usual spot.

Binoculars are out, but he doesn’t need them to see

-CARS AND MOTORCYCLES OUTSIDE OF THE EICHMANN HOUSEHOLD.

He presses the binoculars to his eyes.

91 INT. LIVING ROOM. EICHMANN HOUSE

Lamps illuminate A SMALL PARTY. Klaus, to one side, his armaround a NEW GIRL. Chats with his brother DIETER and boysfrom the Tacuara. Vera plays the host, glass in hand. An

Astor Piazolla record plays in the background.

A fork TAPS on a glass. Attention shifts to the sofa whereEichmann the entertainer stands. Someone kills the music.

EICHMANN:

Now, you all know no party of ours

is complete without a speech or

three. But brief, but brief, OK. To

you, firstly. Friends, loved ones,

new and old. Argentina is nothing

without you. We will miss you all.

A general CHEERS from the crowd. Glasses are raised.

EICHMANN (CONT’D)

Then, to my wife. My Vera. You have

come to the ends of the Earth for

me. And, as we prepare to embark on

a new adventure together, I want

you to know how grateful I am. For

your love, your support. Now, this

is really pushing it but if you’ll

endure a moment more. I’m a bit

late this year, darling, but-

VERA EICHMANN:

Oh no!

From behind the sofa, Eichmann draws a VIOLIN.

EICHMANN:

Oh yes! This year it’s Andreas

Hofer’s “My Love, Do Not Forget Me”.

Approaching, Vera pulls Eichmann down into a gentle kiss.

VERA EICHMANN:

Silly man.

53.

He stands, taking a faux-pompous pose. Begins to play.

92 EXT. RAILWAY EMBANKMENT

The trill of the music is faint now. The crowd surroundingEichmann sway with the music. The image BEGINS TO SHAKEON

MALKIN:

Malkin trembles, his breathing heavy. Lowers the binos. That

sound, A FLAME IGNITING, THRUMMING LOUDER AS IT BUILDSA

FOOTSTEP, nearby. Malkin SPINS, INSTANTLY IN DEFENCE MODEIt’s

Hanna. She holds her hands up.

HANNA:

At least come back long enough toupdate us. Maybe take a shower?

Malkin shakes it off. Nods. Hanna sets off down the hill.

Unable to help himself, Malkin steals one last glance back atthe house- FREEZES when he spots-

a TRIO OF POLICE-CARS coming to a stop outside the Eichmann

house. Each of the men who exit (one of whom is Almirón)

carry gifts. They head inside.

Malkin lowers the binoculars, mind whirring.

93 INT. LIVING ROOM. EICHMANN HOUSE. NIGHT

Pouring a drink, Almirón sees Eichmann approaching. Tilts hisglass. What a party. In response, Eichmann hands him a BUNDLEOF PAGES he’s carrying.

EICHMANN:

I’ve got a few more volumes in me.

This is mostly logistics. How weorganised the camps, methods ofremoving inmates etcetera.

Almirón’s smile widens. He holds up his glass and ROARS

ALMIRÓN

To the long life of our host!

The crowd respond accordingly. Eichmann basks in it.

54.

INT/EXT. CAR/TIRA SAFE-HOUSE. NIGHT

The car pulls to a stop outside the house. Malkin opens hismouth to say something- stops. Hanna looks at him, waiting.

The words just won’t come. She gives up. Goes to climb out-

MALKIN:

Back in Israel. You told me the news

about Eichmann was good for our

home. And I realised. Watching him.

His family, friends. I don’t... I

haven’t felt that. Home. Not since

Poland. Since I left my sister.

Fruma. Since they, uh.

(all coming out now)

I know I had my chance. I know you

think I don’t- that I can’t talk to

you. But I want to. I do. I want to

know what music you like. What food,

what movies, what you do when you’re

not...

HANNA:

Hunting Nazis?

MALKIN:

And when I think about you. About us.

I feel close to it. That feeling. But

then I just can’t. Because they’re

out there. And I- I don’t deserve it.

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