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MUNICH

Screenplay by
Tony Kushner and Eric Roth

Based on the Book "Vengeance" by George Jonas

1 EXT. OLYMPIC STADIUM, MUNICE - NIGHT (NEP STADIUM) 7

The Munich flag is flying over the stadium. Past the flag,
in a distance, the fence that encloses the Olympic Village.
In the dark outside the Village, a group of eight men in
track suits, carrying heavy duffel bags, are silently,
rapidly moving towards the perimeter fence.

i OMITTED 2

3 EXT. OUTSIDE A PERIMETER FENCE OF THE OLYMPIC VILLAGE, MUNICSI
- EARLY MORNING, 4AM (NEP STADIUM)
Paolo, the first of 8 fedayeen, dressed as athletes in track
suits, carrying duffel bags, are climbing over the wire
fence.
A group of American athletes, happy and drunk, comes ambling
down the sidewalk towards the Palestinians,laughing, trying
to be quiet. The Palestinians freeze, looking at one another,
alarmed; one of their number is halfway over the fence. Tony
starts to unzip his duffel bag, ready to go for his gun.
Issa stops him, saying something softly in Arabic. The
Americans gather around the Palestinians.
AMERICAN ATElJ?TE (CASTING TBD)
Aw shame shame ! Closin' down the
biergarten! Hundred meter dash
powered by knockwurst and lager!
Issa smiles at him, shrugs to indicate he doesn't understand.
AMERICAN ATHLETE (CASTING TBD)
Where you guys from? What's your
event?
AMERICAN ATHLETE (CASTING TBD)
He doesn't speak English, man.
Let's help 'em over.
The athlete squats, cups his hands, indicates that he'll give
Issa a boost over the fence. Issa indicates to one of his
men to take the offer. The Americans cheerfully help the
Palestinians climb over the fence, handing them their duffel
bags.
Over the fence, the Americans and Palestinians shake hands
and the Americans walk off toward their building. The
Palestinians are surprised and amused, and also very nervous.

EXT. AN ALLEY BETWEEN TWO BUILDINGS NEAR THE FENCE, OLYMPIGA
VILLAGE, MUNICH - E X G Y MORNING, 4AM (NE? STADIUM)
The fedayeen are taking off their tracks suits, revealing
ordinary clothes underneath.

The Palestinians walk as a group through the sleeping
Village, down an avenue of modern apartment buildings. They
arrive at 31 Connollystrasse and stop.
They enter the building.

INT. THE HALLWAY OUTSIDE APARTMENT 1, 31 CONNOLLYSTRASSE - 5
EARLY MORNING, AM (STAGE/ICE RINK)
The Palestinians are silently removing their rifles from
their duffel bags.
One by one we see them put stockrng masks over their heads.
They all look-scared; some are eager, some lust scared. They
look at each other once the masks are on, grvrng each other
courage.
A close-up on Issa's face, serious and intelligent; his eyes.
Issa motions to the others to be ready. He slowly inserts a
passkey into the lock of the door of the apartment. He turns
the key as quietly as he can. Very gently and slowly he
begins to open the door.

INT. INSIDE APARTMENT 1, FRONT BEDROOM, 31 CONNOLLYSTRASSE -6
EARLY MORNING, 4AM (STAGE ICE/RINK)
On the other side of the door, Yossef Gutfreund, a wrestling
referee, sees that the door is being opened by a man wearing
a mask. He sees the glint of light on a machine gun barrel.
He shouts to wake up the others. Then he hurls himself
against the door. Someone on the other side manages to shove
the barrel of an AK-47 in the way before the door can close.
Guttfreund is struggling mightily against eight men to hold
the door closed
Behind him, Tuvia Sokolovsky leaps up, breaks the glass in a
window and starts to crawl out.
Down the hall in another bedroom, Moshe Weinberg, the
wrestling coach, half-asleep in shorts and a t-shirt, is seen
scrambling out of bed.

His wife is in her bathrobe.and it now appears that this group. ISRAELI NEWS ANCHOR (V.BARELY DAWN 7A General Zvi Zamir is struggling out of his pajamas while watching television. This morning Germany absorbed the blood of one or two of the Israeli delegation to the Olympics. AN APARTMENT IN TEL AVIV . He turns into the apartment to scream out a warning to the other athletes TV SCREEN: 7 ISRAELI BROADCASTING AUTHORITY'S SPECIAL MUNICH COVERAGE 7 Black-and-white. the Israeli anchor sitting at a strange angle in front of an aerial shot of the Olympic Stadium: ISRAELI NEWS ANCHOR Good morning from Munich. and then dragged outside. calling itself Black September. has tossed a piece of paper out the window of the apartment. once in the stomach.) There is great uncertainty about how many Israelis are being held hostage in the apartment at 31 Connollystrasse in the Olympic Village. 7A INT. BBC WORLD NEWS REPORTER -. where he died. Moshe Weinberg. 36 Years have passed since Jewish blood was spilled. CUT TO TV SCREEN : 7B A BBC REPORTER IS STANDING NEAR TFiE BUILDING IN THE OLYMPIUB VILLAGE IN WHICH THE ATHLETES ARE BEING HELD. several IDF officers are standing behind them. The blood of 6 million. was reportedly shot twice in the head. waiting.O. a list of demands -- CUT TO: . crying. the weight-lifting coach.

who can be seen standing near the BBC reporter. The governor of the state of Bavaria and the FDR Minister of the Interior are working to arrange a meeting with Issa. have gathered around. ) 8 EXT. women. SO KE SHOULD HAVE A BLACKENED FACE IN FUTURE SCENES. in and cigarette. IN GOLDA MEIR'S HOUSE -. The terrorist communique ends with an appeal for "revolutionaries of the world to unite. GERMAN REPORTER (IN GERMAN.) They want what they call "the Israeli war machine" to release 200 Arabs in ~sraeliprisons which it insists are political prisoners. men. in silhouette. a few Arab- Israelis. BBC WORLD NEWS REPORTER (V.EARLY MORNING 8 The bar has opened its doors and a television sec is propped up on a table. the head of the Black September group -- 9 OMIT 9A OMITTED . held without trial. schoolkids. " . recoonizable onlv bv her profile and the frizzy hair. A large crowd of Israelis. SUBTITLED IN ARABIC) The deadline for the release of the Palestinian prisoners is only two and a half hours from now. A BAR ON A STFEET IN HAIFA . watching. 8A INT.O. (NOTE: ISSA'S FACE IS BLACKENED WITH SHOEPOLISH IN THIS STOCK FOOTAGE. a housecoat. or the hostages will be killed. . secular and religious people.'EARLY MORNING 8A Golda in the dark. cup o? cbffee A German reporter.

INT. A COMMON ROOM SOMEWHERE IN THE OLYMPIC VILLAGE - EARLIlO
AFTERNOON (NEP STADIUM)
Olympic athletes from around the world are watching the
German Kinister of the Interior doing a press conference.
Camera crews and individual photographers are filming them
watching TV. Journalists from the USA, Spain and Italy are
interviewing athletes from USSR (Z), USA, Mexico, Japan,
Sweden and Kenya. There's a murmur of translation into many
languages.
MINISTER OF THE INTERIOR (GERMAN)
The peace of the Olympics games has
been shattered by a murderous band
of criminal terrorists. The whole
world views this deplorable deed
with disgust.
CUT TO:

~ O A INT. UPSTAIRS APARTMENT ONE FRONT ROOM AT 31 C O N N O L L Y S T R A ~-
- AFTERNOON (STAGE ICE/RINK)
-
"

All nine athletes are sitting on the floor, bound at the
wrists and feet and to one another in groups of 3. The
fedayeen stand around, holding onto their AK47s.
Two of the fedayeen have been hurt: Salah(aka Afif Ahmed
Hamid) has a bloody bandage wrapped around his head-- there's
a knife wound in his forehead. The left side of Badran's
face is a swollen gory mess, a punch having cut him and
knocked out teeth.
The television is on. Everyone's watching Paolo pull a
stocking mask over his head, pick up his gun and step out of
the room onto the balcony.
They watch him through the window, leaning over the balcony
railing. His image simultaneously appears on TV. One of the
fedayeen, Tony, notices the TV, nudges Abu-Halah, who looks
at the TV. Then Tony turns to one of the athletes:
TONY (IN HEBREW:)
Everyone's watching. Everyone in
the world.
The athletes also turn from watching out the balcony to
watching the image on TV.
(PLAYBACK -- STOCK FOOTAGE)

1: INT. A SMALL CINDERBLOCK HOUSE IN AIDA REFUGEE CAMP OUTSIDfil
BETHLEHEM -- A_.FTERNOON
A large group of Palestinian woman are crowded in front of a
teievision. There's no sound.

1IA CUT TO TV SCREEN: 11A
In silence, the famous footage of the man -- Paolo -- on the
balcony, bending to look down and around, wearing the
stocking mask.
CUT BACK TO:

11 CONTlWI?. TXE HOUSE IN AIDA REFUGEE CAMP - AFTERNOON 11 CONT'D.
The women, watching, are discussing in murmurs what they see:
On their TV, the same footage of Paulo on the balcony. Some
of the women are shaking their heads in disbelief, some are
smillng.

11B CUT BACK TO TV SCREEN: 11B
The footage of Paulo again. He looks over the balcony and
then he goes inside. Over this, Jim McKay's voice, with
Spanish and Arabic subtitling.
JIM MCKAY (V.O.)
See the man with the stocking
mask ... weird... does it mean "all
.
right" or "it's all over.. come
and get us?"

llBB INT. UPSTAIRS APARTMENT ONE FRONT ROOM AT 31 CONNOLLYSTRASEB -
AFTERNOON (STAGE/ICE RINK)
All nine athletes and Issa, Tony, Abu Hallah, Kader, Badran
and Salah are watching television:
CUT TO TV:
Paolo leaves the balcony.
JIM MCKAY (V.0. )
(with German subtit1ing:j
This is Live, this is happening
now...
CUT BACK TO:

In the room: While everyone's watching Paolo on TV step off
the balcony, the actual Paoio steps off the balcony and back
into the apartment.

11BBE INT. A MEDIA HQ ABOVE A STADIUM - AFTERNOON (NE? STADIUMPBBE
In the stadium, hordes of Olympic officials and
groundskeepers in blue blazers and uniforms are running
about, conferring with clipboards, wielding brooms and
maintenance equipment, tidying, working to get the games
restarted, their behavior and demeanor bizarrely bright and
energetic.
The staff in the media HQ is watching this going on, quietly
discussing the action on the field, while behind them, on the
TV monitors, footage of crowds assembled outside the Olympic
village, protesting the games going on during the crisis.
over this a BBC reporter is talking:
BBC WORLD NEWS REPORTER (V.O.)
Prune Minister Golda Mexr, holding
fast to her government's policy of
refusmg to negotxate wlth the
terrosists,says that no Israells
anywhere on earth wlll be safe if
she gxves in. Though one suspects
there must be tremendous pressure
to do so from the fanulles of the
captlve men who --
11C INT. SECURITY ROOM IN THE OLYMPICS VILLAGE (NEP STADIUM) 11C
The Munich police are suiting up for the raid, putting on
bulky kevlar vests and then track suits on top of them,
checking anuno and assault rifles, putting these in sports
bags, and watching the coverage all the while.
CUT TO TV
SCREEN :
Footage of crowds at the Olympics stadium, track and field
events going on.

that man is carrying a bag which obviously holds a large gun. Two producers are watching one of the several TV monitors : CUT TO TV SCREEN : ABC News desk. UPSTAIRS AF'ARTMENT 1 (FRONT ROOM). running about. Jim McKay: JIM MCKAY And can you tell us what you're seeing now. These are Munich police officers who are preparing to wage an assault on the building as the 5PM deadline approaches. now that the noon deadline has been shifted to 5PM and -- 11D INT.) Yes Jim. TilE MEDIA HQ . well.. PETER JENNINGS (V. AK-47s are propped on furniture. . discussing what they're seeing: On the screen. scaling the roof.we're confirming now the International Olympic Committee's decision not to cancel the competition. 31 CONNOLLYSTRASSE 1-2 AFTERNOON (STAGE/ICE RINK) The room's a mess. to allow the Games to continue.O. a crew is trying to focus a camera with a zoom lens on police activity across the street.. the police are filmed crouching/running across the roof. Several young Palestinian men are watching TV. it's now 4:46 Jim and -- 12 INT.O. Peter? The picture switches to footage of the Munich police dressed in a weird amalgam of athletic clothing. it's. storm-trooper helmets.AFTERNOON (NEP STmIUM) 1ID Through the window of the media building. food and cigarettes and a barricaded door. only a few hundred yards from where this deadly standoff is taking place.) -. GERMAN BROADCASTER (V. guns in gym bags. and scaling the first and second floor balconies. and.

so maybe we have to do it. THE HALLWAY OUTSIDE THE APARTMENT. leaves the room. ) This assault on the building certainly seems rather disorganized and dangerous. unafraid. his face blackened with shoe polish. S A W i (IN ARABIC:) We warned them.O. . furious. disgusted. urgently about what to do. angry. humiliated. They enter and throw down their weapons and gear on a table. SECURITY ROOM IN THE OLYMPICS VILLAGE (NEP STADIUM)A13A The same room as in scene 1 1 C . they won't risk it. the leader. A13A INT. they're coming in. don't panic. '. Issa. it's just a fucking display. collecting himself.. TONY (IN ARABIC:) Go talk to them. 13 INT. then walks down the hallway towards the exit. 31 CONNOLLYSTRASSE1-3 LATE AFTERNOON (STAGE/ICE RINK) Issa pauses for a moment. and. The television is playing: CUT TO TV SCREEN : . The police are returning from the now-cancelled raid. getting their guns ready for battle. The Palestinians in the apartment are arguing quietly.ANOTHER GERMAN REPORTER (GERMAN V. and one wonders if the Palestinians and their hostages inside are watching. ABU-HALAH(1N ARABIC: ) It's just a show. pointing at the tiny figures on the screen. to show that they're tough. go tell them to get back or something bad will happen. we said what would happen if there's any attempt. and is apparently being televised. TONY (IN ARABIC:) It's going to happen.

muttering. . The bus begins to roils towards the exit. @ 1% EXT. Issa is standing with the German officials. . THE UNDERGROUND PARKING GARAGE AT 31 CONNOLLYSTR~SSEI~A EVENING (NEP STADIUM) A lone 16MM video camera. This event is partly obscured from the camera by a crowd of police and government officials who are standing in between their distant perch and the events unfolding by the bus. still very angry. engaged in discussion. . pointing out that the entire operation was being watched on the television set within the apartment.. blindfolded and bound to one another. The hostages and all eight fedayeen are on the bus. . The nine athletes. CUT TO: . though it isn't yet known where or when this might occur. No one is speaking. a crew of two people and a single flash photographer are filming and snapping shots of the scene unfolding at the far end of the garage: A green bus is waiting.when the leader of the fedayeen came out of the building and demanded that they call off the siege. are walking carefully to the door of the bus. GERMAN REPORTER (V 0 ) -.) Apparently new demands have been made to move the fedayeen and their hostages. facing out encircling their captors. disgusted at having been called off. CUT BACK TO W : GERMAN REPORTER (V. idling. watching the TV. the policemen have gathered. . . CUT BACK TO: In the security room. The echoing garage is scarily quiet.O.

.. This this morning. obviously wary of an the hostages since this assault from the German morning. each with an on.The terrorists are hiding within the circle of their captives. it's hard to see police who are standing at a anything in the dim light of distance. as instructed .NIGHT (blHIPJB STADIUM) The same group of reporters from the monitors in the previous scene. If rumors are correct. it's uncertain is a moment of great danger where things stand or what for everyone involved. Policemen and soldiers in riot gear.. The night footage on every monitor is grainy. filming and photographing the bus leaving the garage. other than their own safety. Inside the media HQ. using them as shields . The monitors are showing the bus leaving the garage and heading down Connollystrasse. a bank of television monitors. ISRAELI REPORTER ARAB REPORTER As the long day has worn on.. the garage and -. No one getaway out of the garage and is clear about where they're away from this building being taken but it's assumed that's now become famous the to be an airport nearby. the with deadlines approaching bus will take the fedayeen and passing unmarked. . the Israeli distance by the authorities athletes bound and who have promised the blindfolded and they seem terrorists a safe and quick dazed and uncertain.. the abductors think they have to gain. world over. CUT TO: 13BB EXT.. chaotic and obscure. and a number of still photographers as well. arrayed in front of TV cameras with long lenses. FRENCH REPORTER SPANISH REPORTER The fedayeen are still We're being kept at a heavily armed. are holding them at a distance from the garage. AT THE ENTRANCE OF THE UNDERGROUND GARAGE .or off-camera reporter speaking in a different language. no and their prisoners to an further hostages having been airport for transportation to killed since the bloody toll either Libya or Syria. ENGLISH REPORTER GERMAN REPORTER They're moving slowly towards This is our first glimpse of the bus.

The camera pulls back to reveal: General Eytan Nadav and General Aharon Yariv. 14 OMIT SCENE 14 14 14A INT. Ah' OFFICE SOMEWHERE IN JERUSALEM 14A A TELEVISION SCREEN: The bus driving up Connollystrasse and out of the compound. a blur of lights and fragments of crowds. Again. The West German agencles seem to be. The strange. Someone's hand switches the channel on the television set. ISRAELI REPORTER (V. even worklng agalnst one another. and no one knows of any alrplane waltlng at an axport to take the Arabs away. responding occasionally. two helicopters are discernible.- ii. watching television. Both men keep their eyes on the TV throughout Behind them are many subalterns. cars. buildings. nothmg is known. nodding.) NO one seems to know if only the Arab gunmen wlll be taken in the helicopters.at cross purposes. who nods while continuing his conversation on the phone and TV watching. the video footage is incomprehensible night filming. flying from the Village. A single Israeli reporter is heard. That's all that's known now. . Yariv is on the phone. . some of the journalists who have been talking to the camera stop talking and turn to watch the bus drive down the street. As the bus leaves the garage. Nadav whispers something emphatic into Yariv's other ear. watching the television and talking on the phone and to one another.O. confusing night footage continues in silence for a bit. high-ranking officers and civilians. strategizing. Eventually out of the confusion.

. clutching a framed picture of her husband. as before: . Behind her. BBC REPORTER(V. ON TV: night-time chaos again.0. rising behind the perimeter fence from the direction of the runway and silhouetting the air traffic tower. an hour after we first heard gunfire and -- The sound of a big explosion. soldiers. AN APARTmNT IN HAIFA -. ON TV: Israeli Broadcast Authority Munich coverage. where a DC9 plane will be waiting to take the terrorists and their hostages to Libya or -- 15 INT. Crowds. A GUARD BOOTH AT FURSTENFELDBRUCK AIRPORT (TOKOL 15 AIRFIELD) A small television is playing as the guards. the wife of one of the athletes. is sitting on a chair. called. a few friends and family are sitting. t n e stadium backdrop. LIVE FEED) 16 INT. GERMAN REPORTER (V. The guards in the guard booth rush out of the booth to see the fireball rising. not watching. A teenaged girl is leaning against her chair. (PLAYBACK -. Mostly we see bright lights piercing blackness. looking exhausted and frightened .) The decision's been made. Furstenfeldbruck. urn. they -- They were stuck in traffic and now. LATE NIGHT 16 A young woman. streaking the screen. stare out the window -.. The TV camera lurches up to show a huge fireball.0 . ) There are armored cars now.the armored vehicles on television are roaring past the guard booth. what I'm hearing from here is that they are headed to an airport. press. police. cars. A German reporter is being shoved aside as enter the gates.

Some of the men and women begin to weep. She isn't sobbing but tears are streaming down her face. TKE GOLAN HEIGHTS . The wife of the athlete is rocking. trying to hold it in. CUT TO: INT.) All the hostages.O. ANOTHER ISRAELI NEWS ANCHOR We have reports now that all the hostages. we have confirmed. A PALESTINIAN HOUSE IN HEBRON . we are told all the hostages are safe. that all the hostages are safe.LATE NIGHT Men and women and children are watching the Israeli broadcast. all nine hostages are safe. ANOTHER ISRAELI NEWS ANCHOR We repeat. And all the Arabs have been killed. it's just past one AM. and -- CUT TO: INT. it becomes a great piercing cry of mourning. TV SCREEN: ISRAELI NEWS ANCHOR It has been learned that three of the nine Arab terrorists have survived the gun and grenade battle at Furstenfeldbruck Airport and are now in German custody. the fighting ceased at midnight. AN ARMY BARRACKS. ANOTHER ISRAELI NEWS ANCHOR (V. slightly. A ululating cry rises from the women. 18A OMITTED a 19-19A OMITTED .LATE NIGHT Soldiers in the IDF are watching a small television set.

TEL AVIV . opens the front door. is whining and nosing about for attention. People are weepmg. With a sigh. charlie. Avner is sitting alone on a small sofa watching television. His large friendly dog. making room for her. FEMALE ISRAELI TELEVISION ANCHOR (V. she squeezes in between him and the arm rest. FEMALE ISRAELI TELEVISION ANCHOR (CONT' D) Enormous crowds have gathered on Dlzengoff Street. tight expression on his face. and in Jerusalem on the plaza in front of the Xnesset. Avner gently pushes him away. ) The bodies of the eleven murdered Olympic athletes arrived this morning at Lod Airport. CUT TO TV SCREEN : 2 0A Grainy footage of the flag-draped coffins of the murdered20A athletes being unloaded at Lod Airport. Daphna.EARLY EVENING Later the same day. carrying the mail. The camera switches to show huge crowds gathered at night in downtom Tel Aviv. They don't say anything. is clenching his right fist so tight his arm tremors. Avner looks up at her and then back to the TV. . AVNER'S APARTMENT. He moves over to one end of the sofa. Avner's seven-months-pregnant wife.. again to the point of tremors.O. whlch w ~ l lbe held tomorrow in Jerusalem. tearlng thelr clothes. Charlie settles nearby. 21 CUT BACK TO: 21 Avner. a grim. A modest. . The funerals. They watch in silence.20 INT. underfurnished modern Israeli apartment. watching. then hyperflexing. are expected to draw tens of thousands of mourners.

A ROOM IN JERUSALEM . 23 INT. 25 INT. A ROOM IN JERUSALEM . 26 INT. a shot of the flags at the Olympics vlllage belng lowered to half mast. As she says each name. 24 INT. A ROOM IN JERUSALEM . after the announcer.EARLY EVENING 23 On the television.TIME UNKNOWN Another photo. . TEL AVIV . Wadi Haddad. and finally murdered by Arab terrorists. FEMALE ISRAELI TELEVISION ANCHOR Zeev Friedman.TIME UNKNOWN Another photo of another Arab man. David Marc Berger. A MALE VOICE Dr. A E VOICE Mahmoud Hamshari. A W R ' S PSARTMENT. 22 INT. FEMALE ISRAELI TELEVISION ANCHOR These are the names of members of the Israeli team at the Munich Olympics who were held hostage. the face of the athlete appears on the screen. AVNER'S APARTMENT. TEL AVIV .EARLY EVENING Avner and Daphna watching. beaten. FEMALE ISRAELI TELEVISION ANCHOR Yossef Gutfreund. A MALE VOICE Abu Daoud. or noiselessly.TIME UNKNOWN 22 A hand places a grainy photo of an Arab man on a tabletop. Avner repeats each name quietly.

A band is playing the Hatikvah. FEMALE I S m L I TELEVISION ANCHOR Eliezer Halfin. TEL A V I V . A ROOM I N JERUSALEM . People are weeping. 27 INT. Mark Slavin. FEMALE ISRAELI TELEVISION ANCHOR Arnitzur Shapira. film footage of Paulo. holding a gun. Yosef Romano. EARLY EVENING 29 Avner and Daphna watching. AVNER'S A-PARTMENT.EARLY EVEhTNG 27 On the television. A MALE VOICE Wael Zwaiter.DAY 31 A procession of coffins. FEMALE ISRAELI TELEVISION ANCHOR Kehat Shorr. draped with Israeli fiags. passing it to yet another hand. wearing his stocking mask. TEL AVIV-. A MALE VOICE Dr. somber crowd. I think I knew his cousin. standing on the balcony at 31 Connollystrasse. TIME UNKNOWN Another photo. 31 EXT. 28 I N T . 29 I N T . ON A SQUARE I N jERUSALEM . are making their way through a massive. Another hand picks up the photo. 30 I N T . Andrei Spitzer . DAPHNA (softly:) Oh God. Basil al-Kubaisi. AVNER' S APARTMENT. .TIME UNKNOWN Another photo. A ROOM I N JERUSALEM .

Look what happened to them. INT. FEMALE ISRAELI TELEVISION ANCHOR (V. A MALE VOICE Kamal Adwan. Another photo is placed as the previous photo is picked up. What now? . A ROOM IN JERUSALEM . also known as "Abu Yussuf" . Moshe Weinberg.INT. Charlie is whining from the kitchen. They went to the Olympics. AVNER I have the world's most boring job. listening. AVNER'S APARTMENT.EARLY EVENING Avner and Daphna.O. Avner is still silently pronouncing the names. A MALE VOICE Hussein al-Chir. A MALE VOICE Mahmoud Yussuf Najjer.TIME 'UNKNOWN Another photo. Another photo. Another photo. A MALE VOICE Kamal Nasser. Then another. DAHPNA I tried not to think about you but I couldn't. What's going to happen to me? DAPHNA They were just athletes. Ali Hassan Saiameh. A W E VOICE Mohammed Boudia. ) Yacov Springer. TEL AVIV .

" (to the Attorney General:) There's legitimacy for this. A MALE VOICE Eleven names. The room is cluttered. fighting. . thick with documents. MIKE HARARI Give us the order and we begin.TIME UNKNOWN 34 The tabletop. pictures of the Arab men in a disorderly pile. General Eytan Nadav. head of Mossad's Central Operational Group -. We say to these butchers. Olympic torches and brass bands and dead Jews in Germany. General Zvi Zamir. Around the table ten people are seated: Golda Meir. then we don't have to share this world with you. and puts them in a folder. all business. Avner smiles at her. planning. GOLDA MEIR Ambushed and slaughtered again. And the world couldn't care less. and all its occupants are dishevelled. The Attorney General winces. Mike Harari.and four other ministers. He passes the folder to the Attorney General. an air of siege and crisis. Harari gathers together the photographs. wearing glasses. Meir is rumpled. AVNER Now? Now we're going to have a baby 34 INT. shuttered. weary -- they've been arguing. General Aharon Yariv. hair a mess.the voice announcing the names of the Palestinians -. While the rest of the world is playing games. A ROOM IN JERUSALEM . "You didn't want to share this world with us. who has before him another folder. Everyone at the table looks to Meir. smoky. including Meir Shamgar. the Attorney General. GOLDA MEIR It's the same as Eichmann. arguing again for many many hours and it shows.

A MINISTER We've responded. We have to show them we're strong. That's a response. (a beat) We have laws.. Palestinians? Who are Palestinians? (MORE . I've always resisted such people. Brief silence in the room GOLDA MEIR These people. who knows how many wounded? GENERAL NADAV This is about fixing the world's attention. . We sent seventy fighter jets.. ANOTHER MINISTER A response no one heard. They're sworn to destroy us. Some people say we can't afford to be civilized. GOLDA MEIR (CONT'D) (Angry:) But I don't know who these maniacs are or where they come from. he looks back at her. we represent civilization. He invented Black September. She looks sharply at Harari. He holds up the photograph of Salameh for all to see. GENERAL ZAMIR . Well it's not just a publiciky stunt. A MINISTER Sixty Arabs dead. A MINISTER Air strikes on guerilla training centers. Forget peace for now. GENERAL EYTAN NADAV No one notices what happens in the border camps. at least. GENERAL ZAMIR Let me remind you: Ali Hassan Salameh.

Avner stares out the window. ignoring Avner. He salutes the general. The Attorney General opens the document folder.MORNING 36 Avner climbs into the car. A government sedan is waiting for him. 36 INT. another document. matches it with a document. SOLDIER We're going to Jerusalem. . AVNER You swore us in. GOLDA MEIR (CONT'D) There are no such people. TEL AVIV . The car pulls out.. what law protects people like these? Today I'm hearing with new ears. . There's a soldier in the driver's seat. awkwardly. INSIDE THE CAR . then gets in. recognizable. my unit. You tell me. when I joined Mossad. The car drives on. AVNER Usually I take the bus. I have made a decision. . Get in. and signs. The responsibility is entirely mine. 35 EXT. He takes a photo. Avner's surprised. A soldier is standing beside the car. They're not. General Zamir picks up the Jerusalem Post and. Of course I know your father. OUTSIDE AVNER'S APARTMENT. and signs. General Zamir is in the backseat. reads. Avner peers inside the car.. holding open the curbside passenger door.MORNING 35 Avner comes out of his apartment building. GOLDA MEIR (CONT'D) Every civilization finds it necessary to negotiate compromises with its own values. He takes another photo.. GENEFXL ZAMIR I don't remember you. Avner looks back at his front door. A nod to Harari. Zamir nods. General Zamir nods.

AVNER years since -- ~ w o GOLDA MEIR Sit. He looks at Ephraim.37 INT. GOLDA MEIR Coffee? Wonderful to see you again. Obviously it ' s important. How are you? How is your father? AVNER He's. GENERAL ZAMIR (To Avner:) Sit. wide-eyed. Golda Meir looks calmer. everything.. resigned. two generals and the Prime Minister. It's been. pamtings and photos on the wall: Golda Meir. Mike Harari. as does Zamir. urn.. DAY Avner and General Zamir enter the room. then yes. and this is General Yariv. GENERAL ZAMIR The chief of Mossad. This is Harari. thank you. General Eytan Nadav and Ephraun. GOLDA MEIR Avner. seated on a couch and comfy chairs in an ordinary apartment. Avner nods. The rules. . Avner shakes his head no. General Aharon Yariv.. fine. GOLDA MEIR (CONT'D) General Nadav over there.. What happened in Munich changes everything. Avner sits. GENERAL YARZV This is something new. more pulled-together than before. Golda Meir serves him coffee. who smiles at him but whom no one has introduced. She's dressed to look official. GOLDA MEIR'S APARTMENT IN JERUSALEM .

GENERAL YARIV And it's dangerous. but. I couldn't go to the athletes' funerals because she died. this isn't about guarding tourists on El A1 jets? Zamir chuckles at this. G E N E W NADAV No questions? Did we mention how dangerous it is? GOLDA MEIR You know my sister died Tuesday? AVNER No. Your w i f e is pregnant? AVNER Yes. . Maybe for years. GENERAL ZAMIR We want to ask you. I - GOLDA MEIR Cancer.. GENERAL NADAV (to Avner:) Now you should say something. not even your wife. away from home.. Family matters. seven months. Silence.. and no one will know where you're buried. GENERAL YARIV You could die doing this. You will have to leave the country and your family. That upset people.. will you undertake a mission? An important mission. She was my sister. GENERAL ZAMIR Do you have any questions? AVNER So. GENERAL ZAMIR You can't talk about it to anyone.

with a blunt forefinger. durable men. Nadav. AVNER You liked having the son of a hero around. A new Munich. there will be Munich every year. GOLDA MEIR Truth to be told. GOLDA MEIR You were one of my favorite bodyguards. Yariv. It's a heavy burden. butchered. She stands. That's it. GOLDA MEIR Mazeitov. ready to go. That's Jewish history. Irrefutable. We can't be weak. . Meir and Yariv exchange a look. if they think we're weak. Barari taps Avner's sternum. I wish I was younger. On and on. GENERAL ZAMIR (to Avner:) What's your answer? MIKE HARARI Eleven unarmed Jewish boys. you see. GENERAL NADAV If we don't respond. Avner watches them. you don't look much like your father. Meir leaves the room. Avner sees it. hard. Zamir and Harari stand. and everyone stands. After briefly conferring with Yariv. Harari cocks an ever-so-slightly skeptical eyebrow at Yariv. every year. She pats Avner's cheek. AVNER No? GOLDA MEIR Your mother is who you resemble. you know? I like neat. MIKE HARARI (CONT'D) I wish they'd asked me to do this.

You'll say yes.egnant. They lie still. Ephraim watches Avner watch the generals and Harari leave. GENE= ZAMIR Tomorrow morning. She didn't go to the funerals because she didn't want to be booed. EPHRAIM Her sister died. For the baby. careful becabse she's so p. You won't be around. AVNER'S APARTMENT . but I think she didn't go to the athletes' funerals because some people are angry at her for not negotiating with the terrorists. . Daphna lies down AVNER How late in a pregnancy before you have to stop having sex? DAPHNA Labor? Avner laughs DAPHNA (CONT'D) Don't worry about it. They 're They finish. My name is Ephraim.NIGHT 42 Avner and Da~hnaare makina love. make sure they give you a raise. Ephraim leaves. 38 OMITTED 42 IET. If you can't decide in one day you can't decide. I'm your case officer. not looking at one another. Avner is alone. I need things. Silence. Then she looks at Avner. DAPHNA (CONT'D) Will you? (not a joke:) Whatever they want. It's a good sign that you didn't ask questions. - She's on tow.

39 INT. She resists. MOSSAD HEADQUARTERS. slides it across the desk to Avner . Avner is seated across the desk. It says we do not employ you. my father had disappeared. I'm going to go along with this. TEL AVIV . He grabs her. Until I don't. You understand me? AVNER I love you. she abandoned you at that kibbutz -- AVNER She didn't abandon me. Then they hug. . she -- DAPHNA So she put you in the kibbutz and abandoned you. ferociously. she knew what she was doing. Avner looks at Ephraim. AVNER I can't live with refusing this. he was in prison. EPWIM First you resign from Mossad. So listen. A beat. Avner. And now you think Israel's your mother. Ephraim takes a sheet of paper from a desk drawer.DAY 39 Ephraim is seated behind a desk in an entirely nondescript room. Avner signs. EPHRAIM (CONT' D) Your new contract. DAPHNA I'm not the hero's nice wife. ROOM 27-5-H. It's a contract that there is no contract. she was overwhelmed. surprised. DAPHNA Your mother. offer you benefits or pension or legal aid or medical assistance.

ROOM 27-5-1. AVNER Do I get a copy? EPHRkIM You don't. 40 INT. your salary. neat desk with an adding machine. an leathery-tough old man has interrupted his work to talk to them. we put more in. you're working for Israel. Operational funds in one box. Which you don't take till the mission ends. Ephraim stands. MOSSAD ACCOUNTANT you'll open two accounts at the Union de Banques Suisses in Geneva on Rue de la Commerce. . in the other. I'm an old Galicianer from a mud hut in the Ukraine and I don't trust Yekke putzes let loose in Europe with unlimited operational expenses.DAY 40 An accountant's office adjacent to Room 27-5-H. Avner and Ephraim are standing. when you get what accumulates. AVNER How many men do I -- MOSSAD ACCOUNTANT In the operational funds box we will deposit two hundred and fifty thousand American dollars. You're not working for Baron Rothschild. Ephrab hands Avner a check and puts the signed contracts back in the desk draw. locks it. Also for each of your men you open an account for his salary. Behind a small. You take it out. Unemployed and uninsured. 1% not a Yekke. Your pension contribution refund. MOSSAD HEADQUARTERS . AVNER I'm was born in Israel. EPHWiIM (CONT' D ) YOU are now officially unofficial. a small country. I want receipts.

somebody else is paying for it. MOSSAD ACCOUNTANT I don't care about that. You're going to kill them. don't upset the Russians. EXT. no one needs taxis and airplanes all the time. MOSSAD ACCOUNTANT Where's your grampa from? AVNER Frankfurt. They're all in Europe now. I want receipts. and not the Eastern bloc. not you. one by one. W d you can leave messages for us. Remember. . that's for us. who needs it. Take a train or a subway. The accountant dismisses them with a wave of his hand and returns to his calculations. not the Arab countries. Bring me receipts. You will have no contact with us. JAFFA -DAY 41 Ephraim and Avner are eating baklava from a white cardboard box. Your wife receives monthly a thousand dollars in her bank account. MOSSAD ACCOUh'TANT Whatever you're doing. MOSSAD ACCOUNTANT You're a Yekke. You'll stay there as long as it takes. Europe only. EPHRAIM We have eleven Palestinian names. You got me? AVNER I got you. EPHRAIM Also we'll leave messages in the box with the operational funds. Each had a hand in planning Munich. Eleven men. But there shouldn't be messages. A STONE PIER BY THE SEA.

Ephraim f i n i s h e s a p i e c e of b a k l a v a . documents. who k i l l s t h e t a r g e t s ? EPHRAIM You do. You t h i n k t h e y r e p o r t back t o home base? They d o n ' t . smacking h i s l i p s . One of your guys knows how t o make them. AVNER Who. urn. They walk a b i t . . You can ask q u e s t i o n s now. We want them dead. AVNER Am I . .. AVNER You're n o t going t o g i v e me any information? EPHRAIM W e d e p o s i t money from a fund t h a t d o e s n ' t e x i s t i n t o a box we d o n ' t know abou?. Who e l s e ? Use guns i f you have t o . b u t bombs a r e p r e f e r a b l e . b r e a t h i n g t h e a i r .. We c a n ' t h e l p you because we n e v e r h e a r d of you b e f o r e . You're t h e team l e a d e r . clean- up t o make s u r e you d i d n ' t a c c i d e n t a l l y drop your f a k e p a s s p o r t n e x t t o t h e dead body. They know u s e f u l t h i n g s l i k e c a r s . EPHRAIM Four o t h e r s . EPHRAIM (CONT'D) Nothing b e t t e r t h a n e a t i n g something sweet by t h e s e a . who knows who blew him up? AVNER Why me? EPHRAIM What's wrong w i t h yau? . i n a bank we never s e t f o o t i n . Y o u ' l l do what t h e t e r r o r i s t s do. W e want everyone t o r e a d i n Le Monde some famous Arab t e r r o r i s t i s dead. a l o n e ?.

aren't so carefully hidden. Some of them. no civilians. AVNER And also I lived in Frankfurt when I was a kid. (getting it:) So I'm not known. That kind of trouble we can't afford. EPHRAIM Yeah I know. AVNER I'm not an experienced field operative. The hard thing won't be finding them. a Yekke Jew who knows his way around Europe -- EPHRAIM That's a good reason and here's one more: You're ordinary. I know so much about you. What else is new? Were we prepared to build our own country? We did it anyway. No bellhops." You got lucky. EPHRAIM And not even I know you now. AVNER I'm a Sabra. The hard thing will be not punishing yourselves by getting caught or getting killed. A nice sabra with a dog and a baby on the way and you won't shoot Spanish bellhops. You'll figure it out. AVNER Are there other teams? or -- EPHRAIM You're underprepared. (MORE) . AVNER How come you're so sure? EPHRAIM Because every Jew on earth saw those eleven coffins and thought "I want to kill the ones who did this. you aren't a Sabra Charles Bronson. anyway.

staring out. Tuvia Sokolovsky is breaking the glass in a window and crawling out. EPHRAIM (cont'd) you want to say this was a mistake? Want to pass this job on to someone else? Now's the time. He switches on the light overhead. 44 INT. IN THE HALLWAY OF APARTMENT ONE. 45 INT. veiled but visible through the mesh. the other passengers are asleep. 44 MUNICH . 4:25 AM 45 (STAGE/ICE RINK) On the other side of the door. pleased :) What contract? Do you want the last piece of baklava? Avner shakes his head no. After all you just signed away your dental insurance. Avner has a row to himself. A beat. INT. the following scene comes before the one that lust conciuded. . EPHRAIM (Smiling. He's sitting by the window. APARTMENT 1. No one will ever know. 31 CONNOLLYSTRASSE.4:25AM (STAGE/ICE RINK) The eight intruders are shoving as a group against a door. ON BOARD A SWISS AIR FLIGHT TO GENEVA . Avner stares into the other man's dark eyes. 31 CONNOLLYSTRASSE. Another face appears in the reflection. Behind him. you should avoid sweets. MUNICH . apparently right behind Avner. Guttfreund falls to the ground. Finally the fedayeen succeed in forcing the door open. His reflection appears. Yossef Gutfreund is shouting to wake up the others. EPHRAIM (CONT'D) Smart decision. a man in a stocking mask. AVNER I already signed.NIGHT 43 43 The plane's half-empty. tne contract. In the movle.

Kader. UPSTAIRS APARTMENT ONE FRONT ROOM. Badran. Weinberg. Badran. S h a p i r a . One of t h e fedayeen f i r e s a p i s t o l i n t o Weinberg's head. f a c e b l e e d i n g and bandaged w i t h a s c a r f . a l s o r u n s . and a s he does he t u r n s and smashes one of t h e fedayeen. f i r e s a p i s t o l and s h o o t s Weinberg i n t h e face.4 : 4 5 m (STAGE/ICE RINK) Tony. I&der and Samir a r e r o u s t i n g o u t of bed Berger. Weinberg i s b e i n g herded o u t of t h e room. a s k i n g f o r t h e whereabouts of o t h e r I s r a e l i a t h l e t e s . HALLWAY OUTSIDE APARTMENT ONE. and Freedman. who i s e n t e r i n g h i s room. P a o l o . r u s h e s a t I s s a . 4 8B T s o b a r i escapes o u t a door which l e a d s t o t h e underground48B carpark. a r e t y i n g up S p r i n g e r . 31 CONNOLLYSTRASSE --48A 4:46AM (STAGE/ICE RINK) The a t h l e t e s from apartment t h r e e . hands r a i s e d . knocking o u t s e v e r a l t e e t h . dropping h i s c r u t c h e s .4:30AM (STAGE/ICE46 RINK ) Moshe Weinberg. i n t h e f a c e . i n t e r r o g a t i n g them. 4 8A I N T . Romano. INT. Romano. t h e w r e s t l i n g coach. Badran f a l l s . APARTMENT 1 AT 3 i CONNOLLYSTRASSE . INT. Badran . Tony. he h u r l s himself a t t h e man who s h o t him. S l a v i n . INT. b r a n d i s h i n g m47s. H a l f i n . t e a r i n g a gash i n Badran's f a c e . T s o b a r i . UPSTAIRS APARTMENT THREE AT 31 CONNOLLYSTRASSE . e n t e r i n g t h e room behind I s s a . He g r a b s Weinberg's dropped k n i f e as h e r u n s up t h e s p i r a l s t a i r c a s e . l i m p i n g p a i n f u l l y . dropping t h e k n i f e on t h e ground. 31 CONNOLLYSTRASSE07 4:45AM (STAGE/ICE RINK) I s s a . Paolo. S p i t z u r and G u t t f r e u n d . and S a l a h . behind T s o b a r i . k i l l i n g him. s h o u t s a t t h e o t h e r s t o r u n . i n t o apartment one. Abu-Halah. S c h o r r . Weinberg s l a s h e s I s s a a c r o s s t h e c h e s t w i t h a f r u i t k n i f e h e ' s found l y i n g nearby. on c r u t c h e s . S e v e r e l y wounded. Weinberg. . a r e b e i n g l e d i n t o apartment one by t h e fedayeen. i s leaning against a wall. screaming a t them.

Romano runs into the room in which the first five athletes are captive (Schorr Springer Shapira Shpitzer and Guttfreund). very Swiss bank official. It's packed with stacks of US dollars. leaving all the money inside. 4:55AE. THE SAFETY DEPOSIT VAULT. He closes the smaller box. DAY 50 Establishing shot of the bank. Kader and Paulo drag the body of Moshe Weinberg out to the sidewalk. he is confronted by Abu Hallah who fires killing Romano who falls heavily into the middle of the room. and puts them in the knapsack. EXT. Then he opens one of the smaller boxes. He smiles back at her. One large safety deposit box and five smailer ones are on the table. With great force Romano stabs Salah in his forehead. while the bound athletes inside cower from the gunfire.I 48BF !STAGE/ICE RINK) Tony. spraying blood. He is fastidious. THE SIDEWALK OUTSIDE 31 CONNOLLYSTRASSE .DAY Avner is in a private room in the vault. ON BOARD A SWISS AIR FLIGHT TO GENEVA . It's got a modest amount of cash. He makes sure all boxes are locked. Holding his knapsack. GENEVA . Avner opens the large box. INT. They drop his corpse face-down on the sidewalk.NIGHT 49 Outside the plane's window. He turns out the overhead light. THE UNION DE BANQUES SUISSES. He screams. UNION DE BANQUES SUISSES. a great deal of cash. . the dawn is breaking in a thin red line on the horizon. 51 GENEVA . INT. covered in blood.At the top of the stairs he encounters one of the fedayeen: Salah. He removes ten stacks of bills from the box. he pushes a button at the side of the door of the room. There's a pile of rubber bands on the table. who smiles at Avner as she ushers him out of the room. The door is opened immediately by a very pretty. and staggers. They run back into the building. As Romano bursts into the room. Avner's staring at his reflection. the knife sticking straight out of his forehead. He has an empty kna~sackwith him. EXT. who is wearing a stocking mask.

carrying a large steaming brisket on a tray. ROBERT I make toys. Everyone's dressed casually except for Hans. STEVE (to Avner:) You've done this before? AVNER Done what? Sit. Behind them is a table set for dinner. Avner emerges from the kitchen. Hans. and Steve and Robert are meeting for the first time. HANS A team leader who cooks! What a luxury! AVNER Years in the kibbutz kitchen. so some of you have training in -- CAIU. CARL I thought you made bombs.52 INT. . I want to kill every one of these pigs but -. HANS Right here in Frankfurt! It's a front. THE SAFE HOUSE IN FRANKFURT . who wears a coat and tie. STEVE Because I joined Mossad ten minutes ago and I'm. but successful. Avner starts serving. Carl. (pointing to Hans:) He sells antiques. I'm a documents and identities specialist with an sharp eye for early Danish modern.so. DAY It's a handsomely furnished apartment. wearing an apron. solid furniture. Everyone sits.

ROBERT After the Six Day War. ROBERT Think we'll be done by then? Silence. In a war. well. you know? For my people. I've made a new Jew. ROBERT Mazeltov! CARL AND HANS ROBERT Mazeltov ! That's wonderful! When? AVNER A couple of months from now. STEVE Right. AVNER My wife's expecting. I've been studying how to make bombs! STEVE (to Avner:) Is it Ali Hassan Salameh? Is that our job? We're here to kill the guy who planned Munich. ROBERT Toys. HANS A soldier. When my son came along I thought. isn't it? To think of oneself as an assassin? AVNER Then think of yourself as something else. Eating. am I right? Everyone eats. Avner nods. I joined Mossad because I needed to do something. CARL It's strange. a toast. and you know how to shoot. to assassinate people? Right? (MORE) . In Brussels. Carl raises his glass to Hans. No one wants to talk about this. But don't worry.

ROBERT How do we find our targets? AVNER That's the tricky part. mazels on the baby and all that. They examine the photos as they talk. HANS His ulcers have ulcers. . So let's not screw it up. military. lit by lamps. STEVE (to Avner:) So why'd they make you team leader? HANS Because he really knows how to cook a brisket. has been cleared for work. each is responsible in some way for Munich. but -- (to ~ ~ b e & ) You make dolls. Everyone considers this. that's just great but. poets.DAY 53 From a high angle above the table: The table. THE SAFE HOUSE IN FRANKFURT . armed. in a toyshop. Each has blood on his hands. A beat. STEVE (cont'd) I mean. AVNER There are seven hard targets. 53 INT. and (to Hans) You shop for sofas and (Carl) I don't know what you do -- CARL I worry. AVNER You're only the wrong guy for the 3ab if you screw it up. loudmouth intellectuals. And four soft targets. No help from Mossad. The eleven photographs of the targeted Palestinians have been laid out on the table as they were in scene 34.

Who paid for all that? AVNER We're forbidden the Arab countries. ANDREAS (GERMAN)(V.) Hello? A W E R (GERMAN)(V. and penetrable. Robert and Hans are exchanging ideas.O. even. And it opens pathways. CARL Which leaves the European radical Left. ringing. fake passports. we hear the sound of a phone being dialled.) Andreas? Guess who? ANDREAS (GERMAN)(V. CARL Let's not waste time with the Arab coffeehouses and mosques. CARZ. plane tickets. Sloppy.0. Avner watching.) You punched me! You broke my jaw! . HANS And the money we pay the informers gets funneled straight back to Black September. Money leaves trails. HANS Palestinian sympathizers. We can't go to Eastern Europe either. c m The fedayeen in Munich had AK-47s. as Avner watches. The group continues to discuss.) Holy shit! AVNER(GERMAN) (V. We don't hear the dialogue.O. Informers tattling on informers.) Surprised? ANDREAS (V.O. someone picking up. Steve.O.

the blind anarchy of capitalism. they're just ways of talking about a terrible struggle. That's in Marx.) That was ten years ago. ANDREAS'S APARTMENT IN FRANKFURT . AVNER(GERMAN) (V. (in ENGLISH) And you were screwing my girlfriend. isn't she? AWER ( GERMAN ) (over Yvonne:) I don't know what she's talking about. but he isn't. ANDREAS (GERMAN) (over Yvonne. remnants of costly furnishings. after "You have to be willing etc":) She's amazing. . Yvonne. Yvonne is holding Herbert Marcuse's "Reason and Revolution": YVONNE( GERMAN) The problem is considering right and wrong as ethical questions. Books are strewn everywhere. but also posters from strikes and marches and a portrait of Fanon thumbtacked on smoke- dingy walls. You have to be willing to re-consider. Avner is pretending to. parts of an equation.strip the sentiment out and try to come to t e n s with historical forces external to us and indifferent to moral category. Andreas and his girlfriend. clearly expensive. right. NIGHT 55 The apartment is an elegant shambles. Marcuse says Hegel's "Philosophy of Right" doesn't place "wrong" in a moral category.O. There's also beer and wine. a dialectic -. it's -- ANDREAS(GERMAN) Then it's OK to kill someone who -- YVONNE(GEM) Free Will necessarily creates wrong. wrong. are smoking pot. 54 OMITTED 54 55 INT.

He takes an enormous wad of money from his pocket. Yvonne! Avner wants to get in your pants! He told me. as does Andreas. Andreas joining in. ANDREAS (GERMAN) What sort of business do you. ANDREAS ( GERMAN ) (over Yvonne:) Neither do I but she's dead sexy.. right? Avner takes the joint out of Andreas's fingers. a long time ago. Avner starts to laugh again. AVNER ( GERMAN) I'm busy. . Yvonne takes the joint. tokes. FUC~ pig. man. She tokes and starts counting the money . He cracks up. as if he's stoned. He tokes ANDREAS (IN ENGLISH) I really miss you. ANDREAS(GERMAN) Rich Americans. in GERMAN: ) You don't read much. yeah? YVONNE: (GERMAN) you. Yvonne puts Marcuse down and takes the money from Avner's hand. like. we were in high school! YVONNE ( G E M ) It's sixty thousand dollars. Avner. . then the joint from his mouth. Andreas takes the joint from Yvonne. AVNER That was. (to Avner . you know. man. puts it in his mouth but doesn't toke. AVNER ( GERMAN) I work for some Americans. Andreas re-lights a joint he's holding and tokes it. we really loved each other. ANDREAS Hey. huh.

For my rich Americans. thousand! ??! Dollars?l AVNER These people I'm looking for. He reaches for it. . He takes a $5. AVNER ( GERMAN) You don't. American. hanging on to the money AVNER(GERMAN) (CONT'D) Are you Baader-Meinhof? Red Army Faction? What? YVONNE One hundred fifty. A beat. Yvonne and Andreas look at one another. (in ENGLISH:) Give me my money. AVNER(GERMAN) (to Yvonne) I nave a few names. ANDREAS(GERMAN) ..000 bill out of the new wad. you don't know them. WomE We'll ask some friends. AVNER See? James Madison. people I need to find. Yvonne. But I think maybe you know people who would. AVNER One hundred in cash. Avner takes a smaller wad of cash out of another pocket. She pulls away. One hundred. YVONNE (GERMAN) And it's Americans? You work for -- Avner exhales. YVONNE We might.

TONY - I can't help if I don't know who you're trylng to find. (makes a little "come to me" gesture. Andreas tries to pretend not to be insulted. plates of pasta in front of them. TONY Forget Salameh. ~ u n i c hwas a big success for them.56 EXT. . You have to cross the line. mid-4Os. Making plans. They stare at one another. ANDRERS Yeah. TONY So name me an Arab. Wael Zwaiter. a tough- looking Italian man. Kemal Nasser. You carry cash and you don't make speeches. everyone makes speeches. very serious. Abu Daoud. They're recruiting. the implications of Munich for the struggle are incredibly. Nowadays. Too hard. Give me a few names. m n e r hesitates. Andreas is ignored. AVNER Abu Yussuf. Like our friend Andreas. A CAFE OFF THE PIAZZA NAVONA . Tony nods noncommitally: "I've heard of them" ALTER Salameh. We'll have to trust. Talk talk talk. leans in:) I trust you. TONY Hidinq? The Arabs aren't hiding.DAY Andreas and Avner are sitting at a table with Tony. urn -+ TONY They got everyone's attention. Tony gives Andreas's face a gentle slap.

He's broke. AVNER (to Andreas. it's -- TONY Sixty thousand per name. I don't want to see you hurt. ANDREAS (to Avner) Listen. TONY If it isn't good it doesn't cost. Waei Zwaiter's here. blank. In Rome. He has a retarded niece he calls every day in Damascus. who looks back at him. Dollars. He just translated "The Arabian Nights" into Italian. cars. Tony indicates Andreas should leave. ANDREAS (to Avner) Who are these guys? Why are you trying to find Arabs. lust don't OK? . Andreas looks to Avner. softly. Tomorrow there's a reading. be careful with this guy. vans. in GERMAN: ) Go. AVNER If it's good information. TONY (to Avner) And also maybe you need people to help with your work. ANDREAS (to Avner) Are you trying to join the PLO? TONY (to Andreas) We need to talk alone. either. he. they said he was dangerous. I don't know. ANDREAS Hurt? AVNER Tell anyone about this and.

C a r l . newspapers l i e s c a t t e r e d about. He is h o l d i n g a copy of h i s newly-published t r a n s l a t i o n of "1. t h e o t h e r s draw s t r a w s . shocked. 57-58 OMIT 57-58 59 I N T . Avner watches. The o t h e r s look a t him. A t h i n P a l e s t i n i a n man. C a r l holds four straws i n h i s f i s t . Avner watches him go. Avner t u r n s back t o Tony. l o o k s back a t Avner. He nods AVNER I need r e c e i p t s . 0 0 1 Arabian Nights" from t h e Arabic i n t o I t a l i a n ? Apart from t h e e x p e c t a t i o n of enormous r i c h e s . Avner. Wael Zwaiter.e: "Or I w i l l k i l l you. The menace i n Tony's f a c e i s unmistakabl. Robert and S t e v e . i s s t a n d i n g f a c i n g a s m a l l crowd of I t a l i a n s and Arabs. Andreas l e a v e s . TONY Anything you need. t o what you i n t h e West c a l l "The Arabian Nights" - . . Hans. Andreas l o o k s from Avner t o Tony. w e l l I am n o t an Arab. We p r o v i d e ." Andreas. a r e k n e e l i n g on t h e f l o o r i n a c i r c l e . Robert has t h e s h o r t e s t straw. LATE WTEFWOON 59 A one-room apartment. And why has a P a l e s t i n i a n p o e t worked f o r years t r a n s l a t i n g " 1 . windows t i g h t l y s h u t t e r e d . ROME . unhappy. d r e s s e d i n t h e c l o t h e s t h e y ' l l wear d u r i n g t h e h i t . 60 EXT.001 Arabian Nights. I mean? The audience laughs q u i e t l y . H e looks away. I am P a l e s t i n i a n . s u r v e i l l a n c e photos. though golden Roman a f t e r n o o n l i g h t i s l e a k i n g i n . Avner nods t o him t o confirm t h e impression h e ' s j u s t gotten from Tony. and street maps. They compare. A SMALL COFFEE H0USE/BOOKSHOP. documents. t h i n k i n g .DAY 60 A l i t t l e c o u r t y a r d p a t i o r e s t a u r a n t o u t s i d e t h e bookshop. A SAFEHOUSE APARTMENT I N ROME . There a r e s e v e r a l m a t t r e s s e s on t h e f l o o r ." ZWAITER ( I N ITALIAN:) What a t t r a c t s me t o t h e Scheherazade s t o r y .

C a r l f o l l o w s behind him. LATE AFTERNOON 62 Zwaiter i s u s i n g a payphone. a b o t t l e of o r a n g e soda pop. The small crowd h a s gone and Zwaiter i s leaving. some green-colored d i s h s o a p . EXT. . Zwaiter comes o u t of t h e s t o r e . C a r l f o l l o w s behind him. c a r r y i n g two brown p a p e r bags w i t h g r o c e r i e s . H e c a t c h e s C a r l ' s eye a s C a r l l e a v e s t h e s t o r e . o v e r and over. goes t o t h e s h e l v e s and s e l e c t s : a j a r of maraschino c h e r r i e s .LATE AFTERNOON 63 C a r l emerges from t h e s t o r e . SMALL GROCERY STORE . b r e a d . He walks down t h e s t r e e t . A SMALL COFFEE HOUSE/BOOKSHOP. speaking s o f t l y . nods t o S t e v e who i s a c r o s s t h e s t r e e t i n a F i a t . . who l o o k s bored. The a u d i e n c e applauds p o l i t e l y . The s t o r i e s of my p e o p l e a r e from memory. . a b o t t l e of grape j u i c e . s i t t i n g n e x t t o a young I t a l i a n woman. ZWAITER ( I N ITALIAN:) I l o v e what t h i s c l a s s i c s a y s about t h e power of n a r r a t i v e . A t t h e c o u n t e r . t h e s t o r i e s are from f a n t a s y . ZWAITER ( I N ITALIAN:) Thank you f o r coming t o my r e a d i n g .LATE AFTERNOON 6 1 A l i t t l e while later. They s m i l e and nod a t one a n o t h e r . C a r l i s watching t h i s performance. C a r l i s buying an apple. S t e v e nods back a t C a r l and d r i v e s o f f . For h e r . f r i e n d l y . Zwaiter s t a n d s . We t e l l them.. Thank you f o r l i s t e n i n g t o me. He walks down t h e s t r e e t . and f r u i t . You s e e ? N a r r a t i v e can have t h e power t o conquer d e a t h . t o s a v e o u r s e l v e s from o b l i v i o n . ROME . a s a l a m i . . . OUTSIDE A SMALL GROCERY. Zwaiter m i n g l e s w i t h h i s audience. INT. s h e s t a y s a l i v e . Across t h e s t r e e t . As l o n g a s t h e g i r l Scheherazade t e l l s a s t o r y . 63 EXT. . Zwaiter hangs up t h e phone.. ROME . . t h e r e l a t i o n s h i p of n a r r a t i v e t o s u r v i v a l .

LATE 65 AFTERNOON The lobby is dark. It pulls up next to a fountain in the center of the square. he steps our of the Fiat. As Zwaiter enters the building.* 64 EXT. parked curbside by an apartment building. stepping into the doorframe to strike a match. and they look at him. THE PIAZZA ANNIBALIANO ." confused. Hans hops out. He flicks the switch. He spots Steve's Fiat across the square. Zwaiter enters the piazza with his groceries. He juggles his grocery bag and reaches for the lobby light switch. Hans is stepping out of the van. Zwaiter looks at the two men. Everyone's blank for a moment. The bored Italian woman inside the Fiat drives away. then: AVNER Are you Wael Zwaiter? ZWAITER Yes? I'm sorry I -.LATE AFTERNOON A van enters the square. light a cigarette. Robert and Avner draw their guns. and the light's timer starts. As Zwaiter's entering. Zwaiter shakes his head "no. Zwaiter is frozen. When Steve sees Hans get out of the van. Steve positions himself a few doorways away. I -- AVNER Do you know why we're here? A beat. 65 INT. He looks around the square. Avner and Robert are standing between Zwaiter and the curved staircase. Avner's gun gets caught momentarily in his belt. Zwaiter opens the front door and steps inside. the van has moved from the fountain and is approaching the parking space previously occupied by the Fiat. THE LOBBY OF ZWAITER'S APARTMENT BUILDING . he -- . AVNER Are you Wael -- ROBERT He said yes already. Steve gets behind the van's steering wheel and Hans takes up Steve's former position.

gun a t t h e ready. p l e a s e .. green soap. a g a i n through t h e shopping bags. Avner s w i v e l s i n t h e d a r k . orange soda. Avner does t h e same. Robert i s crouching o v e r t h e body. AVNER I d i d n ' t h e a r him s a y t h a t he -- Z w a i t e r walks s l o w l y t o Avner and p u t s h i s hand g e n t l y on A v n e r ' s gun. c r u s h i n g t h e g r o c e r i e s i n t h e bags. counting t o . two s h o t s . H e r o l l s over o n t o h i s back.. Robert walks up c l o s e and f i r e s a n o t h e r s h o t r i g h t i n t o Z w a i t e r ' s c h e s t . l a . They p u l i t h e door c l o s e d a n d t h e van drives off. mixed w i t h d a r k b l o o d . Zwaiter looks a t Robert. t h e n g i v e s up. a s i g n : " M a u r i z i o and Sons. He h o l d s h i s hand o v e r h i s nose and mouth. Dazed. . OUTSIDE ZWAITER'S APARTMENT BUILDING . t h e y e a c h f i r e again. . a n d S t e v e i s ir? t h e d r i v e r ' s s e a t . . b r e a t h i n g . Robert and Avner s t a n d o v e r t h e body. h e t r i e s c a r e f u l l y t o lower it. He g a g s . T h e r e ' s a sound of b o t t l e breaking: maraschino l i q u i d . t h e n f a l l s f l a t on h i s f a c e . R o b e r t f i r e s two s h o t s . s p i l l o u t under Zwaiter.LATE AFTERNOON66 Avner and Robert walk b r i s k l y o u t of t h e b u i l d i n g . h e ' s p a n t i n g . Someone on an upper f l o o r i s descending A W R Move. which Zwaiter c o n t i n u e t o h o l d . shocked. Then Avner f i r e s . A i u t o . H e looks f o r t h e e i g h t h c a s i n g . On t h e s i d e of t h e van. Zwaiter screams i n p a i n . a i u t o . Gardening" Avner and Robert yank open t h e v a n ' s rear door and tumble i n . p i c k s up and pockets t h e s h e l l c a s i n g s . t h e n d r o p s t o h i s k n e e s . seven. Suddenly t h e lobby e l e v a t o r shudders and j o l t s i n t o l i f e . w a i t i n g . Suddenly t h e t i m e r c l i c k s t h e l i g h t s o f f . 66 EXT. Z w a i t e r ' s a l r e a d y s t o p p e d moving. guns o u t . through t h e grocery bags and i n t o Z w a i t e r ' s c h e s t . please. Hans i s i n s i d e . H e t r i e s t o r o l l o v e r b u t c a n ' t . s m e l l i n g something t e r r i b l e . The van i s w a i t i n g . He slams t h e l i g h t s w i t c h on and q u i c k l y l o c a t e s . grape j u i c e . Robert and Avner jump. ZWAITER (almost inaudible:) La. sobbing.

There are no other customers. It's a sign. The others watch.67 INT. swaying as the van drives throuah Roman streets. a little sloshed. They take in the interior of the van: all around them. INSIDE THE VAE .NIGHT 68 Several hours later. They sit in silence as the van sways. Avner and Robert are drinking wine. Steve drinks. 68 EXT. CARL Well. Steve. This is what Avner was waiting for. Hans. happy. HANS Hallelujah. THE PATIO OF A SMALL HOTEL IN LATINA . waiting for something. wrapped in clear plastic. Carl sits next to Avner.LATE AFTERNOON Hans. what do you want me to say? He's dead. WHY DIDN'T YOU SHOOT HIM? AVNER WE SHOT HIM! STEVE I DIDN'T HEAR A -- ROBERT WE KILLED HIM! GOD DAMN. Carl comes in. Hans is poring over a pile of small pieces of paper -- receipts. each holding a baby Jesus. . looking very tired. are cheap painted plaster Virgin Mary garden statues. watching the door. Robert and Avner are seated on sacks of soil and fertilizer on the floor of the van. Everyone inside is adrenalated and freaked out. STEVE WHAT HAPPENED? WHAT HAPPENED. Robert is drunker and glum. HE -- AVNER EIGHT SHOTS! ROBERT HE SHAT HIMSELF! HE'S DEAD! Everyone stops shouting. A waitress is serving food. Gardening supplies and ornaments are all around them. Avner is tense. Awful bouncy Italian music is piped in.

He cost us. AVNER I didn't say we're rejoicing. I don't know about the rest of you but I'm not celebrating. He tosses it to Avner. by my calculation. AVIR (to Carl) You didn't finish the story. AVNER To the martyrs. CARL That old Pesach story.Carl reaches in his pocket and takes out a bullet casing. I'm goddamned rejoicing. CARL And God says to the angels "Why are you celebrating? I've just killed a multitude of my children. The others raise their glasses." CARL Which was? STEVE Don't fuck with the Jews. The angels are rejoicing because the Egyptians have just drowned in the Red Sea. They say "We're celebrating. The angels respond to God. and drink. They toast. Avner pockets it. We're celebrating. Avner raises his glass. God. Hans folds up the pile of receipts. AVNER Have some wine. because when people hear what happened to the Egyptians they'll understand Your point." Silence. roughly $352. We're celebrating. . HANS (to Avner) Mr. Zwaiter. and a sorrow descends as they remember.000.

They dance a kind of heavy-footed hora out of time to the bad Italian pop. throwing his arms around their shoulders. He shows Avner the shopping list. Tony whispers something to Louis. Not in season. Garlic will do. enjoying it. Steve gets up and goes to the waitress. then gets into a car waiting by the curb. Louis has :. arrives on foot. self-conscious. 70 INT. LOUIS A Jew and a Frenchman. slightly younger than Avner. LOUIS Our service has been satisfactory? AVNER Pricey. A VEGETABLE MARKET/CAFE . AVNER I'm not a Jew. Louis nods. awkward. LOUIS My papa sometimes loses track of the seasons. then look at one another. Louis takes Avner's arm and leads him away. smiling. We could haggle forever. The car drives off. a shopping list and is filling a macrame carry sack with vegetable. Louis.. 69 EXT. DAY 69 A small side street in the Marais. Tony and Avner are standing outside a shop. joins the others. He grabs her and starts to waltz her around. Avner is shopping with Louis. a Frenchman. It's all quite friendly. Avner pulls Cari in. a closeness settles in. stumbling a little.DAY 70 . I know nothing about food. As they dance. why does he make me shop? . Robert heavy. The other four watch this. Tony introduces the two. then pulls Robert up. and they start to dance. She laughs. LOUIS What do you suppose a "ramson" is? AVNER It's a kind of wild leek. Avner gets to his feet. A STREET IN PARIS . Steve leaves the waitress. Hans joins them. waiting.

Avner examines these as Louis talks. consulting the list. Louis puts them in the carry sack. LOUIS Or an agent with a profitable sideline in information. Louis takes a photo out of his bookbag. LOUIS Rich Americans. showing Hamshari leaving his apartment. We can locate almost anyone. Avner hands Louis vegetables. anywhere. A beat. Avner looks down at it. I heard. Or KGB. for anyone. LOUIS You're wondering if I'm French Intelligence. As they walk and talk. Avner turns the picture over. LOUIS (CONT'D) Mahmoud Hamshari. getting into a car. LOUIS He's one of your famous names. I get my feelings confused. Identity: That's the boring part. We don't find. AVNER Or CIA. and we're ideologically promiscuous. talking with colleagues in front of the Arab League headquarters. Or hate everyone.? . . Louis hands Avner a series of black- and white photos. There's information written on the reverse.Louis hands Avner the shopping list. I could be anybody. You could be anybody too.. I'm in private business too. My family. We love everyone. you don't pay. He slides the photo over to Avner. Here's what isn't boring: as long as you don't work for any government -- AVNER I'm in private business. If you're not working for any government: We know or we find. yes. Monsieur.

71 INT. puts it in the carry sack amidst the vegetables. wlll occur. ~ h & 're watching-the television. Avner hands Louis a folded copy of Le Monde. ROBERT A Lufthansa jet was hijacked coming from Damascus. three of the Palestinians from Munich. 7 1A CUT TO: A television screen: Al-Gashey concludes his statement: J W AL-GASHEY We are not acting alone. only the begmning. their lawyer standing behind them. with someone translating over into French.further acts of violence. TRIPOLI . They're free. Instantly. A CONFERENCE ROOM IN A HOTEL. A SAFE HOUSE IN PARIS . There are thousands. are seated. Carl and Steve. AVNER Franz Storsch. millions with us. facing a mob of reporters and cameras. Adnan al-Gashey and Mohammed Safady. The press conference is in English. See? They're in Libya now. the people's justice. removes a fat envelope.DAY 71 At a long table behind microphones. are standina behind a couch on which ~vner-andRobert are seated. J A W AL-GASHEY What we did in Munich is the beginnmg. 72 INT. for the Palestinian people. If justice is not done for our people.DAY 72 Hans. Jamal al-Gashey. al- Gashey is reading a statement. havinq just arrived. LOUIS Please call me Louis. suitcases behind them. in overcoats. The Germans agreed. . The hijackers demanded the release of the three killers who survived Munich. . Louis looks inside.

DAY Hamshari. is seated. smoking a cigarette. AVNER We don't go to Arab countries. playing a tape of the released terrorists' lawyer saying: . his lawyer translates: LAWYER We have . dapper. from the TV) What do you think you achieved by killing the Israeli athletes? As Adnan al-Gashey answers in Arabic. 72 CONTC(lbllT TO: 72 CONT'D. professorial. Avner produces a photo. We stick with the names we've been given. huh? Look at that! They're movie stars! (to Avner) We should go to Tripoli and kill them.. STEVE (to Carl) No qualms about rejoicing on their side. made our voice heard by the world. being interviewed by a journalist who is revealed to be Robert. torn. INT. AVNER Mahmoud Hamshari. which shows an enormous crowd of people in Tripoli gathered to welcome the three fedayeen. MAHMOUD HAMSHARI'S APARTMENT. Everyone looks at it and then looks back to the television. Silence. PARIS . 50s. 729 CUT BACK TO: On the television. ANOTHER JOURNALIST (OS..a 72A CUT TO: The television screen.

and years of Palestinian blood. HAMSHARI -. Mrne. Marie-Claude. And where does it end? How will it ever end? MAHMOUD HAMSHARI (IN ARABIC) Please. I'm just pointing out something that -- . ON TAPE:) We have made our voice heard by the universe. spilled by Israel. so is that -- m. no food. two hundred people killed.though for twenty-four Tell your newspaper that. our homes taken from us. the world. living in camps.. who was not hearing before.. LAWYER ( V . whose interview is this? MME. smiling at Robert. right after Munich they did this. We are for twenty-four years the world's largest refugee population. or. MAHMOUD HAMSHARI What he meant by this is that the world will begin hearing us. * years our civilians have been about. and * who mourns for us? * MAHMOUD HAMSHARI Israel just bombed two refugee camps in Syria and Lebanon. ROBERT Was the attack in Munich justified? MAHMOUD HAMSHARI The PLO condemns attack on civilians -- MAHMOUD HAMSHARI MME. Robert ciicks off the tape recorder. Hamshari walks in. no future. O . about all the years * attacked by the Israelis. HAMSHARI It did not begin in Munich. HAMSHARI (FRGNCH) It" your interview. nothing decent for our children.

He pops his eyes. trying to look completely unimpressed. I must call my editor. a dragon! The girl rolls her eyes. yes you said you. Robert draws in deep on his cigarette. your telephone. Amina. OUTSIDE HAMSHARI'S APARTMENT.Mme Hamshari and Amina drive away.. speaking in French to his wife. dressed in France Telecom repair uniforms. INT. Robert and Avner. Carl. Across the street. please. As Robert dials he lifts the phone and writes down on his pad the model serial number. He places the phone on the pad. a van is parked... this way. sits down at the piano and starts doing practice pieces. please. They watch. then blasts smoke through his nose. . carrying a schoolbag. .MORNING 74 Mme. Hamshari and the girl. He leaves Robert dialing the phone and goes to another room. A young girl comes into the room. here's the phone.MORNING 75 Steve. shyly watching Robert while she plays. may I. then measures its height with his fingers and makes marks on the pad corresponding to this measurement.. getting her attention. leave the building and get into a parked car. PARTS . MAHMOUD HAMSHARI (ARABIC) I'm perfectly capable of covering all the essential -- Robert suddenly looks at his watch. . gets up from the piano and leaves the room. I'm sorry -- MAHMOUD HAMSHARI Oh yes. . Damn! Doctor. INSIDE THE PHONE UTILITIES VAN . EXT. Yes. ROBERT Oh. he outlines the phone's base. marked with the France Telecom logo. puffs his cheeks. suppressing a smile. on their way to Amina's school. ~amsharileads Robert to the phone. Steve at the wheel. may I.

Carl drops the valise.MORNING No one's home. funny you stupid -- ROBERT Sorry. VERY angry: ) That isn't. ROBERT (CONT'D) . Carl stands behind him clutching a valise.And the switch only works after someone picks up the receiver. we don't know what he did. Carl and Avner watch as he starts to install the phone bomb.. CARL This man. Robert forcing it slightly. AVNER (with a slight smile. ROBERT You don't have to baby it. CARL (badly scared. sorry. CARL I hope you know what you're doing.. Robert takes a bakelite box with a toggle switch on it out of his pocket. He's organizing for Fatah in France.. a bent wire in the lock. He flicks the switch. to Carl:) Do you think I know what I'm doing? Carl considers this. very very gingerly.@ 76 INT.. Robert catches it. Robert goes to Hamshari's phone. . quietly. Suddenly the front door pops open. INSIDE HAMSHARI'S APARTMENT . specifically? AVNER Hamshari arranged the attempt to kill Ben-Gurion in Copenhagen a few years ago. c m Organizing. it can't go off unless I push ...

Avner is at a kiosk. Don't you? Carl doesn't answer. you don't always have to. AVNER Yes. AVNER Good.. ROBERT I'm done. and a light on a remote control device lights up. pretending to talk on the phone... AROUND THE CORNER FROM HAMSHARI'S A P A R T m BUILDING. browsing through the magazines. "Here ' s the story. think. no. ROBERT I see the light. AVNER scrutinize every -.MORNING Carl is in the phone booth. PHONE BOOTH.Yeah. you know. it was more. CARL Think. a crisis.. And. At the next corner. (to Carl: ) Don't think about it. Absolutely.. well. AVNER This is war. they showed you the evidence for this? AVNER Not evidence. . PARIS . Robert demonstrates: He lifts the receiver on the phone.. I flip the switch. you're on your own. CARL And in Tel Aviv. EXT. to. depressing the hang-up button. You want to wire Ephraim demanding evidence." I believe them.

Hamshari and Amina drive away. I. who's obviously settled in for a long stop. looking in at the bored driver.. Hans is in the back seat. Robert's in the passenger seat. the toggle switch is taped. looking up at Carl. down the street. across from the apartment. Hamshari.MORNING 773 Mme. INSIDE THE VAN . Robert and Steve watch Mme. Steve looks up the street at Avner at thekiosk... AVNER Is it blocking the signal. ROBERT I don't know. He nods to Carl. past the truck. Avner. will the remote work? Robert holds up the remote device.. a Fiat is parked. Hamshari and Amina come out and get into a car parked in front of the building. THE STREET IN FRONT OF HAMSHARI'S 77A APARTMZNT. we'll see. takes his hatmoff. and then he crosses the street to the Fiat. the grim reaper is now dialing your number 77D EXT. who nods back.-!' STEVE Our leader has doffed his chapeau . MORNING 77C Hans. completely cutting off the Fiat's view of the apartment building. INT. Avner runs down the street. holding the remote control device on his lap. Steve is in the driver's seat. 77% EXT.77.MORNING 77D A large moving truck pulls up. THE STREET OUTSIDE HAMSHAPJ'S APARTMENT . M. . INSIDE A FIAT. 77C INT.MORNING Around the corner. Avner up the street at the kiosk is watching. IN FRONT OF HAMSHARI'S APARTMENT BUILDING . Amina is carrying a schoolbag. probably it'll be OK. PARIS .

77E EXT. 7 7H INT. . it's fine. you can't start improvising now. 77F I N T . 773 I N T . Amina gets out of the idling car and runs back Into the apartment building. as he does he nods to Carl. STEVE Go tell the truck. HANS Get back to your position. MORNING 77E Avner returns to the kiosk. they don't see Mme. I N THE CORXIDOR TO THE HAMSHARI APARTMENT . I N THE BEDROOM I N ?iAMSHARI'S APARTMENT . THE STREET OUTSIDE HAMSHARI'S APARTMENT . in reverse. urn. T m STREET OUTSIDE HAMSHARI'S APARTMENT . it. AMINA (AR98IC) Mormny forgot her glasses. MORNING 771 Carl finishes dialling. on the other side of the truck has come back down the street. The phone starts to ring. MORNING 775 Harnshari is putting on his shirt as W n a runs into the room. MORNING 7 7 H Amina runs to her apartment door. Carl starts to dial the phone. THE STREET OUTSIDE HAMSHARI'S APARTMENT . MORNING 77G Carl continues to dial. thing. go back to the corner! ROBERT It's a powerful radio. 771 EXT.MORNING Arnina runs up the stairs 77G EXT. give him some cash and get him to move. Hamshari's car. HAMSHARI'S APARTMENT BUILDING . While Avner and the others are talking. I think.

He can't get the tape off. . . Behind him. INSIDE THE FIAT . Avner snoots a quick panicked glance up at the window of Hamshari's apartment. hearing the phone being lifted. MORNING 77N Avner runs towards the Fiat. it. He starts to ask if s . Robert starts to move the tape off the toggle switch. Daddy. A slight hum. a drawer. Avner looks down the street to the front door of the apartment building. 770 INT. THE PHONE BOOTH . He sees Mme.MORNING 77R Carl. having trouble getting the tape off the detonator switch..'. Carl has dropped the receiver and is running as well across the street towards the Fiat. 77K INT.MORNING 770 Robert is fumbling. Hamshari's car. Steve and Hans are anxiously watching him. 77N EXT. IN THE I3AMSHARI'S APARTMENT . 7 7P INT. AMINA (AWIBIC) I'll get it.MORNING 77P Amina is holding the phone. realizing suddenly what's happened. . The phone rings. She goes to her mother's vanity and takes a pair of glasses frorr. It registers that Amina is no longer in the car. MORNING 77L Carl hears someone pick up the phone. THE STREET OUTSIDE HAMSHARI'S APARTMENT . She runs to the phone.Hmshariwhen he hears Amina's voice.. 77L EXT. across the street. AMINA'S VOICE Hello? 77M INT. INSIDE THE FIAT .MORNING 77M The indicator light on Robert's remote lights up. raise his finger as a signal to Avner. PHONE BOOTH . She picks up the phone.

HAMSHARI'S APARTMENT . HAMSHARI'S STREET . pounding on the car's closed windows." 77R INT.MORNING 77s Amina comes out of the building and gets into the car. OUTSIDE THE VAN . 778 EXT. Hans reaches over and stops Robert's thumb with his hand. Hamshari and Amina drive away. THE STREET OUTSIDE HAMSHARI'S APARTMENT . AMINA (ARABIC) Nobody is saying anything? Hamshari takes the phone. handing her mother a pair of sunglasses. pressed against the windows. which her mother puts on as she drives away. who looks up at the Hamshari apartment. Hamshari approaches the phone. MORNING 77Q Robert has peeled the tape off and puts his thumb on the switch. meaning "aborr. Carl and Avner are frozen. Avner draws his hand across his throat. 775 EXT. HAMSHARI Hello? (in ARABIC:) Hello? He hangs up. Suddenly Carl and Avner appear. The other four all turn to Avner. AMINA Hello? Hello? (to her father:) No one is saying anything. MORNING 77R m i n a looks up to her father. 77T EXT. IN THE BEDROOM. ON THE STREET. .MORNING 77T Hans Robert and Steve inside the van and Carl and Avner outside on the pavement watch Mme.

pries it open and tinkers with the weights inside. I don't know how badly we hurt him. Why did you put a goddamned firecracker in that phone?! . a tin clown which rolls on a ball across a tabletop. THE STREET OUTSIDE HAMSHARI'S APARTMENT -MORNING 77W The sound of an explosion. MORNING 77U Hamshari is tying his tie as the phone rings. moving beautifully till it loses its balance and falls over. IN THE BEDROOM IN HAMSHAilI'S APARTMENT . HAMSHARI Hello? 7 7V EXT. STEVE (to Robert:. Hans is again working on the receipts. Carl arrives. He looks at it.people look up. thoroughly wretched. but dull -. A SAFE HOUSE IN PARIS .MORNING 77V CARL Mahmoud Hamshari? 77W EXT. Thousands of cracks appear.AFTERNOON CLOSE UP on a child's wind-up toy. Steve's watching TV and flipping through a magazine. He answers it. Robert. confused. INT. preparing dinner. 78-91 OMIT 78-91 a 9. the glass holds. Avner is grinding herbs in a pestle. The phone rings again. The glass in the window of Hamshari's apartment seems to bulge outwards. CARL He's at L'Hopital Cochin. 77U INT. PHONE BGOTB . It's silent. picks up the toy. they aren't saying.

He f i n i s h e s . AVNER No one n o t i c e s a s h o o t i n g . Robert goes back t o h i s work. OMITTED OMITTED OMITTED OMITTED OMITTED . HANS Another two hundred thousand d o l l a r s . grabs h i s c o a t and h e a d s f o r t h e door. ROBERT I d i d n ' t want t o blow up t h e b u i l d i n g ! What do you want from me? ! STEVE An Arab c o r p s e . and t e r r i f y i n g the terrorists. Robert s t a n d s a b r u p t l y . more o r less. Bombs accomplish a double o b j e c t i v e : E l i m i n a t i n g t a r g e t s . m i s e r a b l e . STEVE That only works when t h e bombs work. Hans works on t h e receipts. c l o s i n g t h e door behind him. STEVE If h e ' s been e l i m i n a t e d . W e should s t i c k w i t h guns. t o e l i m i n a t e t a r g e t number Xwo. AVNER Stay! T h a t ' s an o r d e r ! Robert l e a v e s .

FRANKFURT . are looking on while an army sapir. THE ISRAELI EMBASSY.MORNING 99 Carl is on the phone. hurling Sachori in the air over his desk. Earl's court. He picks up a slightly-larger-than-letter size manila envelope. MORNING 102 A handsome brick mansion at the end of a courtyard off a quiet London street. EARL'S COURT . A MAIL-SORTING ROOM. is standing at his desk. A PAYPHONE NEAR AN AIRPORT . He tears it open. CARL They discovered seven in a mail room near the embassy in. Dr. and he's watchinq it as he talks. two holding bomb- sniffing dogs on leashes. AN OFFICE IN THE EMBASSY . alongside six others. A television is on. ah.) Right after Channukah. 100 INT.a 98 OMITTED 99 INT.O.MORNING 103 The attache for Agricultural imports.DAY Avner is talking on the phone to Carl. 103 INT. ArnR I guess they missed one. He places the envelope on the floor. with great care is using tongs to extract another manila envelope from a stuffed mail bin. Ami Sachori. THE SAFE HOUSE. and they got careless. The enveiope explodes. so I guess there was a big pile-up of mail. LONDON . some with guns. CARL (V. . head-to toe in canvas and wicker armor. 101 EXT. The Israeli flag is flying. He is sorting through a large pile of mail and looking over a report at the same time. DAYlOO Detectives and soldiers. 102 EXT. POST OFFICE.

DAY Avner on the phone. A PAYPHONE NEAR AN AIRPORT . And. mostly mailed from the been reaffirmed by the murder * Netherlands.Munich. They take advantage of your open societies and your hospitality. I'll call you back. AVNER In New York.MORNING c m And to Zwaiter. THE SAFE HOUSE. ah. Where are you? 108 EXT. THE SAFE HOUSE. which has them. Dozens of message of. THE ISRAELI AMBASSADOR It has become much easier for these terrorist groups to operate in Europe. the Israeli ambassador to Britain. To Hamshari. Vienna. 106 EXT. . there should be no in Israel of course. A PAYPHONE NEAR AN AIRPORT . watching the television. It's all Black in my embassy this morning.104 OMIT 105 INT. 107 INT. Kinshasa. September. FRANKFURT . perverted men -. there are strong concerted anti-terrorist measures. Canada. CARL THE IS-LI AMBASSADOR They've found other letters And.that is the Paris and Brussels. FRANKFURT . On the TV. We're in dialogue now. I'm checking on a lead. They're talking to us. sympathy for these evil and Argentina. we believe that unless there is. ah.DAY 106 Avner is on the phone to Carl AVNER It's a response. this menace will grow for you as it has for us. MORNING 105 Carl on the phone. then.

CUSTOMS AGENT What brings you to Israel. Other expectant fathers are waiting too. who is a wreck. a woman &"her 50s. 109 INT. LOD AIRPORT . is waiting with Avner. Storsch? AVNER Business. And to see the Holy Sepulcher. A HOSPITAL IN TEL AVIV . AVNER ' S MOTHER Should you be here? Aren't you on duty? AVNER You going to turn me in? Bow is he? . CUSTOMS DESK. The agent hands Avner his passport. He walks away from the phone. The sign on the phone booth is in Hebrew. I was alone. We have the best hospitals in the world. AVNER'S MOTHER Are you going to see your father? AVNER (shaking his head "no") Why is this taking so long?!? AVNER'S MOTHER It isn't fast. CUSTOMS AGENT Have a pleasant stay.DAY 110 Avner ' s mother. 110 INT. disappointed. Avner hangs up. unhappy face. THE MATERNITY FLOOR.DAY 109 An Israeli customs officer is examining a West German passport. AVNER He was in prison. When you were born. Mr. your father was elsewhere.

walks to the door of the room. AVNER You don't know what I'm doing.. DAPHNA'S HOSPITAL ROOM Avner and Daphna and Geula. AVNER How are you? AVNER'S MOTKER I'm managing. who is sitting in a chair in the hallway. AVNER ' S MOTHER I'm proud of what you're doing. AVNER'S MOTHER (CONT'D) I look at you. AVNER I want you to move. the baby. A W R Ma. 111 INT. I've arranged a place. AVNER She's frighteningly ugly. He stands. They look at each other. and sad. I don't know. Wilma lets him yell at her all the time. . in Brooklyn. looking lonely and grim... Daphna iooks at Geula. For a time. and her. I can't come back here again. DAPHNA She takes after you. She depresses me. I know everything I need to know. don't worry about me. . for us. looks through the little window in the door at his mother. He goes back to Daphna's bed. I can see you there more often. Avner looks exhausted. not for. AVNER'S MOTHER I don't visit your father so much.

Avner? AVNER She'll always be an Israeli. AVNER You're the only home I've ever had. DAPHNA ( CONT ' D ) Don't do it. Why'd I have to marry a sentimentalist? You're ruining my life! . AVNER YOU want my parents to help raise her? Look what they did to me. man. DAPHNA Oh. She'll just be another homeless Jew. DAPHNA What are you doing? Silence. then.. DAPHNA You're not so terrible. this is our home. AVNER I can't do what I'm d o m g if I can't see you. DAPHNA Not in Brooklyn.. AVNER it wasn't easy to say that! DAF'HNA I bet! God damn. and your parents. Daphna cracks up. Avner. I can't . that is so corny! She can't stop laughing. DAPHNA Don't you want your daughter to be an Israeli. She strokes his face. DAPHNA ( CONT ' D ) I have my family here.

sunglasses and a checkered kaffiyeh. yeah. stepping into a limousine accompanied by three men with Russian faces. which he consults as he wires. waistline bulge. They have nothing to fear. HANS Husseln Abad al-Chlr. INSIDE A CAR PARKED ACROSS THE STREET FROM THE HOTEL113 OLYMPIC. STEVE Robert's making the bomb. ROBERT The KGB brings him home every evening. ON THE CYPRUS COAST NEAR NICOSIA . STEVE (mock horror) A mixed marriage! A shonde! AVNER OK. PERHAPS 114 The curtains are drawn. Steve. Hans shows the others a photo. He has a checklist and a hand-drawn diagram near him on the floor. business suit. but you now. Steve and Avner are watching Hussein Abad al-Chir.DAY Hans. Hans. let's not blow them up. he has a gun. They're marrying in Cyprus because she's not Jewish. Carl and Avner are watching. STEVE Uh oh. A SAFE HOUSE IN NICOSIA . They look from the photo to the man getting in the car. iMORE ) .DAY. His room is next to Israeli newlyweds. HANS As do the Russians. Lights intensely illuminate Robert at a table wiring six bombs together.112 OMITTED 113 INT. 114 INT. AVNER ~ t ' sdefinitely him.

hit the remote and. right? . STEVE Be sure to include that anecdote in your memoirs. Everyone freezes. CARL Why? AVNER There are balconies. Every night. he undresses. CARL If the bomb's too powerful you could be killed. in their frame. ROBERT (cont'd) He turns on the light. gun drawn. So every night he slept on the floor of his closet. is carefully placing the bombs. AVNER I checked in to the room next door. If he gets into bed. CARL I knew a field agent who got too scared to sleep in his bed. on his knees.LATE AFTERNOON115 Steve is holding up the mattress of the bed. he gets into bed. .. We blow up the bed. AVNER That won't happen. A light knocking outside on the door. his weight arms tine device. Carl guards the door. Carl. When I see him get in bed 1-11signal by switching off the light. Carl opens it and admits Avner. under the mattress. AL-CHIR'S ROOM IN THE HOTEL OLYMPIC . When we see his lights go out. ROBERT If dl-Chir sleeps in his closet we're in trouble. 115 INT. Sleeps in closets. I wait a bit. and wiring the detonators to a wire that dangles out over the bedframe with a lightbulb on the end of it. sweating under its sagging weight. he turns off the light. while Robert. He still does.

to Avner) A boy or a girl? Avner looks at him. Robert helps Steve lower the mattress very slowly onto the bomb. not listening:) It won't. Ic's dark. Dr. rnazeltov. Avner nods. The mattress is now resting on the bomb. So who wants to test it? STEVE (to Robert:) Why don't you test it? . not breathing. CARL Mazeltov. He motions to Steve and they raise the mattress again. missing his family. CARL (softly. He smiles. Avner. c m Did you see the papers this morning? News from Paris. So again. AVNER (CONT'D) Robert? ROBERT (concentrating. Avner and Carl watch. nods. He makes adjustments on the bomb. AVNER Test it? ROBERT Lie on the bed. no. Robert checks the lightbulb. surprised. AVNER A girl. He's dead. Avner. If the bomb's placed correctly the bulb will light. Robert and Steve lower the mattress. ROBERT Now someone has to test it. pleased. Harnshari succumbed to his wounds.

CARL Steve. Al-Chir turns to smile at Avner. horny. uh. Steve looks at Robert and flings himself in the air and onto the mattress. They look at to sea. followed by music. 116 EX?. Silence. a car honks its horn twice. lonely. the sound of a brief phone call in Arabic. ROBERT It won't blow up. The bridegroom is whispering something to the bride. THE BALCONIES ON THE FIFTE FLOOR OF THE HOTEL OLYMPIOld NIGHT Avner is standing on the balcony. Avner stares. Her husband comes out. HUSSEIN ABAD Ai-CEIR Good evening. both men fascinated. and the room to the right of that room is lit. A limo is pulling up. Avner wants to look and look and is embarrassed and looks away. They smile at him and then the bridegroom leads the bride back into their room. good evening. The lights in the room next to his are switched on. One of you. you do it. clad only in pajama bottoms. thenlputs his arms around his bride. the young bride in the room one over from Avner's comes out on her balcony for a smoke. Al-Chir nods at the bridegroom and bride. The bulb lights. She sees Avner and smiles at him. He goes to the railing and looks down. on the street. Moans and groans start to drift out. Their lights go out. stares at them. AVNER oh. Al-Chir steps out onto his balcony. at the dark open doorway of the newlyweds' room. Laughter comes from inside. The room next to his is dark. get in the bed. (a beat) Prove that you trust me. Avner is startled. He nods t o Avner. . Avner. al-Chir stares. hekisses her neck. Below him. Al-Chir is in his room. Wearing a bathrobe.

They keep at it till dawn. And such a beautiful country! The sounds of love-making increase in volume. I just checked in. If you were born within sight of it you can't live without it. Avner takes out a lighter. it. I loved Sweden. holds it out towards Al-Chir. . I've loved all the places I've lived. offers one to Avner who shakes his head "no. just arrived. HUSSEIN ABAD AL-CHIR Don't plan to sleep. Near Eastern languages. Where are you from? I can't place the -- AVNER Xoln . AVNER Really? HUSSEIN ABAD AL-CHIR Teaching Lebanese immigrant women how to clean houses in Swedish. HUSSEIN ABAD AL-CHIR (CONT'D) Were you here last night? AVNER No. He takes out a cigarette." AVNER Where were you born? HUSSEIN ABAD AL-CHIR A town that no longer exists. I taught in Sweden. HUSSEIN ABAD AL-CHIR Yes? I wouldn't have guessed. Al-Chir puts the cigarette in his mouth and pats his pockets looking for a match. but there's nothing like the Mediterranean. I thought perhaps a Swede. Surprisingly remunerative. Al-Chir takes a pack of cigarettes out of his jacket pocket. who leans over his side of the baicony. HUSSEIN ABAD AL-CHIR Beautiful night.

knocking Avner back onto his bed. Then the sound of a man lowering himself into bed with a sigh. HUSSEIN ABAD AL-CHIR But the sea is still here. exhales. 117 EXT. He goes in his room. Al-Chir nods thanks. A tap running. He can just see the foot of the bed. the wall Avner's room shares with al-Chir's is pushed in and falls over. Robert holding the detonator. nearly hitting Avner. inhales.NIGHT 117 Smoke and flames explode from al-Chir's room across his balcony. HUSSEIN ABAD AL-CHIR (CONT'D) There! For hours! Take a sleeping pill if you have one. and al-Chir's legs sliding under the bedclothes. 118 EXT. You want to borrow one of mine? AVNER I can sleep through anything. Peeing. singing softly to himself. Robert and Hans are in the car behind Steve and Carl's car. then leans in. THE HOTEL OLYMPIC . Avner leans further in. Avner moves closer to the balcony railing where it abuts the hotel wall. lighcs al-Chir's cigarette. He lowers himself back to his own balcony. He hauls himself up. THE STREET IN FRONT OF THE HOTEL OLYMPIC . Then the lights go off. Hans driving. A toilet flush. switches off the light. He hears al- Chir moving about. The sex sounds from the newlyweds' suite become downright raucous. and then an enormous explosion. . intact. Avner flicks the lighter and.NIGHT 118 Glass and plaster and stone rain down on the street. A beat. The car lurches forward. bouncing off a car in which Steve and Carl are sitting. preparing to drive off as planned. goes in his room. The fan in the ceiling above is sheered off and falls. HUSSEIN ABAD AL-CHIR Pleasant dreams. using his hand to shield the flame from the wind.

HOTEL OLYMPIC -NIGHT 119 Avner is trapped in a space between his bed and the wall. the stairs. the newlyweds force their door and stumble out. He's bleeding from a nasty cut on his forehead. carrying a fire extinguisher.. . coughing. To the left of al-Chir's doorless room.NIGHT120 The hall is thick with smoke. what happened??!! BRIDE I can't see! The groom wipes at her eyes with his thumbs. is emerging from his room. 120 INT. their eyes meeting. THE FIFTH FLOOR KAtLWAY OF THE HOTEL OLYMPIC . Carl slams his hand on the hood of Hans's car. The groom turns to Avner . rushes past Avner. Avner leads the couple to the stairs as Carl runs into al-Cnir's room.. It screeches to a stop amidst the rain of debris as Carl jumps out of the first car. They wrap themselves. AVNER Get downstairs. CARL GO ! Hans pulls the car out and drives off as Carl runs to the hotel. A W R ' S ROOM. naked. 119 INT. Avner. Avner goes into their room and comes out with sheets. The door to the stairwell opens and Carl. GROOM Oh my God! Oh my God! AVNER Are you alright? GROOM What. covered in dust. pictures on it dangling from their hooks. Avner struggles to get out. which is now leaning against the opposing wall. here He pushes them toward the stairs. and she's momentarily blinded by plaster dust and smoke. covered in plaster dust.

The room is utterly destroyed. it couldn't have been the grade I specified. someone with the KGB! changed the -- (to Steve:) * Shut up. Carl switches off the light as Avner comes in. it could have - STEVE Target number three.You could have killed Avner. we got (to Robert) Black September's contact What do you mean. t It was too powerful. 122 EXT. piease. * HANS Louis provided the plastique. THE HOTEL OLYMZDIC . lights up -. CARL . ABOARD A SMALL FISHING BOAT ON THE OPEN SEA . Outcome not in doubt ! CARL (to Robert:) The ceiling in the lobby cracked! You nearly demolished the -. CARL Let's get out of here. flicks it.NIGHT 121 Smoke and dust. Carl wipes the extinguisher clean with his handkerchief. And -- ROBERT The plastique wasn't what I asked for. right? . The crystal chandelier. then drops it on the floor. He gropes for the light switch. hanging by wires. An arm and a section of torso are dangling from the chandelier. STEVE CARL What does it matter. someone changed the markings on the explosives. They speak in whispers. Carl blasts the fire extinguisher at small flames. IN AL-CtiIR'S ROOM.NIGHT 122 The team is huddled over a thermos on the deck.one or two bulbs are intact. a burnt and twisted mess of metal. INT.

AVNER
Yes. Why?
A beat.
HANS
(to Avner:)
Why are we trusting him?
CARL
We have no idea who he is.
AVNER
He's finding our targets.
HANS
Yes, but --
AVNER
Without him we'd be nowhere in
this.
ROBERT
The plastique was much more
powerful than what I requested.
Someone changed the label.
HANS
For all we know, Louis works for
the ?LO, and they're using us to do
internal housecleaning.
AVNER
That's --
STEVE
Whose fishing boat is this?
Everyone looks at Avner.
AVNER
Louis arranged it.
Silence. Steve takes out his . 2 2 , undoes the safety, puts it
back in its holster. The boat sails on in the dark.

123 EXT. THE PICTURE GLASS WINDOW OF A KITCHFiN DESIGN AND SUP=
STORE ON A FANCY STREET IN PARIS - NIGHT
It's late and misty. There are no pedestrians. Avner is
looking at a brightly lit and very beautiful Swedish-Modern
kitchen set up for display.

He's tired, but staring at the kitchen with real longing, his
eyes traveling over every inch of it, drinking in what it
means: luxury, security, domesticity, Daphna -- everything
he's aching for.
124 Avner's hungry, weary face is reflected by the glass. The124
kitchen dims and merges with another image, apparently
reflected at first then growing in sharpness and solidity:

124 OMITTED I24

125 OMITTED 125

126 OMITTED 126

126A OMITTED 126A

127 EXT. THE PICTURE GLASS WINDOW OF A KITCHEN DESIGN AND SUPBIZ'
STORE ON A FANCY STREET IN PARIS - NIGHT
Avner, watching in the glass, as the scene of carnage fades
away.
Louis is standing next to Avner. He has an Alsatian by the
leash. Avner turns to look at Louis, unfocused.
LOUIS
There was nothing wrong with the
explosive. Bomb makers are nervous,
which is understandable.
AVNER LOUIS
There's nothing wrong with my Fear makes them sloppy.
bomb maker, it was your --
LOUIS
We've found three more names for
you.
AVNER
Three?
Avner seems dismayed, as if someone's just put a heavy weight
on his back.
LOUIS
Yes, three. Thouqht you'd be
pleased.

AVNER
I am. Who?
LOUIS
Kemal Nasser, Kemal Adwan and
Yussuf Najjer.
AVNER
That's -- Adwan and Abu Yussuf?
Where?
LOUIS
Lebanon. They're in Beirut.
AVNER
Beirut.
Nasser, Adwan and Najjer.
LOUIS
Serious characters.
AVNER
Extremely serious.
Avner thinks.
LOUIS
Smile, Monsieur Storsch. A second
Christmas !
AVNER
I'd like to pay you a little extra
for this, for these three names.
Six hundred thousand. Dollars.
A beat.
LOUIS (CONT'D)
Monsieur Storsch, my group, we
don't care much for governments.
Any governments. We don't work with
or for them. That's an absolute
condition of ... My theory. You
understand?
They look at each other.
LOUIS (CONT'D)
If I learned that your sudden
generosity was an attempt to buy
our acquiescence in your sharing my
information with, let us say... CIA
or MI6 or, or Mossad, even.

domesticated. chopping dill. everyone knows what Avner expects of them. with a claw hammer dangling from it. awkward. Habash and him! Of course he's significant. simmering a gravy. mint jelly. sitting incongruously on the table. used to it. Lie to me and you will find me abruptly unreachable. you don't. and pours wine like a sommelier . while Carl selects . At these prices. Ephraim has the place of honor and his coat's off now. a big bowl of boiled potatoes. AVNER I don ' t work for -- LOUIS Oh you have no idea who you work for. STEVE Abu Yussef! He's like number three in the whole Palestinian network. which is busy. Next to Robert. And unhappy. exquisitely detailed. noodle soup. Steve and Robert are setting the table. concentrated. Ephraim watches. 129 INT..NIGHT The team is digging in: sliced lamb. picking at the food. out of place. he's the brains of the fedayeen! . everyone working like clockwork preparing dinner. intrigued. but he still looks uncomfortable and out of place. making spaetzle over a boiling pot. Ephraim glances at it from time to time -- everyone else ignores it.now a family. 128 INT. LOUIS you save your money. wine etc.NIGHT 128 Ephraim. it's like Arafat. you're going to need it. AVNER Let me buy you a drink. THE SAFE HOUSE IN FRANKFURT . trust me. is a little crane. Avner is in the kitchen. is standing amidst the team. EPHRAIM It's obviously significant information. still in his coat.They're. THE SAFE HOUSE IN FRANKFURT . rolls. assisted by Hans.

STEVE Next to Salalmeh. Another crank and the claw clamps around a potato. (to Robert. We can't allow that. Then he decides to pretend it didn't happen. irritated:) What is that. And the enthusiasm. Robert turns cranks and pulls levers until the little crane has dropped the potato onto his plate. Abu Yussuf's the worst guy we're after. Robert turns another crank and the crane's claw drops into the bowl. Ephraim stares at this. Mossad and the army will take care of it. EPHilAIN (overlapping Steve above:) Thanks for the instruction. opening as it descends. CARL So much for no dead civilians. right? We get the significance! These are serious targets! We want to go to Beirut. EPHRAIM NO. EPHRAIM You can't allow it? AVNER Our source doesn't know we're Mossad. right? And. Robert turns a tiny crank. grim: ) You need to control yourself. . and Adwan plans all the actions in the West Bank. that contraption? ROBERT Oh! It's just a -- AVNER You can't send the army. EPHRAIM [To Carl. EPHRAIM You aren't Mossad. incredulous. I know who he is. The crane wheels around to the dish with he boiled potatoes. you keep out of the Arab countries.

Well. AVNER Let us do it and it won't be a problem. we expected that. STEVE The world forgot before the athletes were in their graves. now. Me being here with you. EPHRAIM People are going to find it difficult. It's this! We deserve this * our job. chance ! * EPHRAIM That's touching. STEVE "Reasonably"?! EPHRAIM You're spending a lot of money. unimaginably risky for us. .. An operation like Beirut could become a big problem. AVNER STEVE * (Over Hans:) (Over Hans:) * We have to go to Beirut. our source will cut us off. The world's already forgetting Munich. Listen. yes? For our country. This is . you've done reasonably well. AVNER If commandos go to Beirut. In a juvenile sort of way. HANS The food will get cold. connecting these bodies with the crimes they committed.. EPHRAIM Why don't you and I go for a walk and talk about this? Alone. is risky. Three names! We're good at * It's our information. You understand that.

Maybe I can include. AVNER We will. Everyone's asking "Who's killing the fedayeen? Is it our guys? Why weren't we told?" Big egos. he doesn't work for you. And that. EPHRAIM Look. or the army. EPHRAIM (CONT' D) (to Avner:) It's time you told me. Accept it. lots of screaming. but excluding Mossad. . EPHRAIM (to Carl: ) Shut up.. (to Avner:) I pay you. is impossible. one or two of you. you work for me. EPHRAIM Who's your source? Carl and Avner look at one another. The box pays me.. EPHRAIM You want it to find it empty? AVNER I want you to let us do our work. but our source won't. Carl smiles. c m You should be pleased. lots of people in Mossad don't know about you. by the way. it's an order. look how eager we've gotten! STEVE Some of us were always eager. No one knows. CARL You can't order him. AVNER I work for a metal box in a bank in Geneva. is not a request.

HANS I hope the old lady upstairs enjoyed that. AVNER We want to do what we've promised to do. screaming:) WHAT IS THE MATTER WITH YOU? WITH ALL OF YOU? GROW UP AND DO IT QUICK! THIS IS. WHERE ARE YOU GETTING YOUR INFORMATION. (to Ephraim: ) He's not kidding. targets. AVNER Let us go to Beirut and use our source and find the rest of the ~ do our job. GIVE ME HIS GODDAMNED NUMBER. hard. She's a little deaf but I doubt she had any trouble hearing you. what we promised you and Israel and our source. While everyone's talking. Robert repeats the potato lift with his crane. WHAT? A GAME? A FUCKING GAME! WHO HAS THE SOURCE. L E US . on the table! EPHRAIM (losing it. He drops the potato this time in Ephraim's plate. even if it stretches the definition of our mission a bit. Ephraim looks at the potato and then slams his hand down. ROBERT I think she's Leni Reifenstahl. HANS We've reached consensus that this was a necessary thing to do. The lady upst-- STEVE She's not Leni Reifenstahl. he thinks she's -- EPHRAIM Give me the source and we'll let you take part.

BARAK But I feel pretty. In the seat behind them. Sealed bags are opened conraining shoes. disguised as a woman. pistols. The commandos disembark. Ehud. (to Avner. One of the commandos. . Another commando in the back is preparing Uzis. BEIRUT . They move to the waiting cars and pile in. THE PLYMOUTH STATION WAGON. grabs his hat and coat and leaves. casinos. No one will ever want to know. Without a word he stands. squeezed in uncomfortably. 130 EXT. grenades. silent. is stuffing hand- grenades into his bra. huge. The cars drive out onto the main drag of the Arab Riviera: pre-1980s Beirut. electric lights. It was a good career. LATE NIGH230 Four Zodiac rafts are nearing the shore. four Commandos. holding out his hand: ) Ehud Barak. male and female.NIGHT 131 Robert drives. that's what matters. This is Ehud Barak. some are dressed as tourists. with a bandstand. I think my life ended when I took this job. People are dancing and the band is playing top 40s hits. ROBERT If she turns out to be Leni Reifenstahl can we kill her? Ephraim looks around the table. 131 INT. . some are in wetsuits. early 30s. CARL Oh well. In the near distance there's an outdoor restaurant. beautiful hotels. knives and Uzis. The boats pull up on beach. sung in Arabic. Twenty Sayeret Matkal commandos are in the boat. you don't make a pretty woman. TKE PARKING LOT FOR DOVE BEACH IN BEIRUT . Avner beside him. ONE OF THE COMMANDOS Ow. furious. ROBERT I think our careers ended when we accepted this job. the squad leader. Don't you think? You heard him: No one knows we're here.

Avner. The commandos draw silenced Berettas and shoot. the Palestinians are shot before they can lift their guns. with the rest of the commandos. huh? To shoot three guys Avner nods. THIRD FLOOR IIALLWAY OUTSIDE ABU YUSSUF'S APARTMENT. armed with old rifles and AK-47s. BEIRUT . The Plymouth's tailgate is opened and the U z ~ sare handed out. THE COURTYARD OF AN APARTMENT BUILDING. Barak looks at his men. RUE VERDUhi. The plymouth station wagon and two other cars pull up behind an apartment building. The commandos in drag enter the courtyard.NIGHT An explosion. 134 INT. Steve goes to Avner and Robert. BARAX Daniel what? Avner smiles and shrugs. shakes his hand. are smoking. STEVE A lot of guns. Behind them. 134 BEIRUT . Robert hesitates to watch the commandos dressed as women finishing their grisly work.all Mossad agents -. standing guard. rush silently in. talking. Daniel. Robert and Steve among them. The commandos use knives to make sure all five are dead. One of the Palestinians walks towards them. Avner reaches back. AVNER Um. some with stockings pulled over their faces. . worried.and Steve. the old man and woman from the truck. the other drivers -.NIGHT33 Five Palestinian men.NIGHT 132 The other rental cars and the truck are waiting. 133 EXT. BEIRUT -. they're confused and suspicious. The commandos pile out. commandos in uniform. blowing the door off Abu Yussuf's apartment. ROBERT You brought a lot of guns 132 EXT.

which is now smashed up against the table. thrown into the air by the blast. a bloody mess. The commandos mediately open fire with Uzis.a 135 INT. in his thirties. Some of the pages are on fire. has been shattered by the blast that blew the front door into the room. Nasser's body jerks and dances as it's struck by bullets. ' S BEIRUT . unexpectedly encountering twenty armed Palestinian men. 138 INT. trying to find Nasser. shouting. Dozens of pages of paper. standing by the front door. apparently unoccupied. A COMMANDO Where the fuck is he? One of the commandos. the commando flips the front door over with his foot. blown to pieces by machine gun fire. signals for the others to stop looking. 137 INT. The door has struck and is covering what's left of a table. grabbing up the pages. blowing out flames and stuffing all printed matter he can find into a satchel.NIGHT 138 . trying to take aim. BEIRUT . KAMAL NASSER'S APARTMENT. cov.NIGHT Another explosion blows the door of Kemal Nasser's apartment straight into his room. The Palestinians are scrambling over one another. The one who's found Nasser gives a nod and then he starts firing into Nasser's body. An intelligence agent among the commandos is rushing about.NIGHT A group of commandos bursts round the corner. is barely conscious. The commandos look at him for a moment. Gun at the ready. The commando uses his foot and slides the door over the corpse. The room. GRO'UND FLOOR HALLWAY OUTSIDE KEMAL ADWAN'S APARTMENTL36 BEIRUT .NIGHT 137 Commandos enter Nasser's apartment through the smoke. SECOND FLOOR HALLWAY OUTSIDE KEMAL NASSER'S APARTMEN235 BEIRUT . The commandos use flashlights to look through the smoke all around the room. Then the shooting stops. the other commandos follow suit.ered with text. 136 INT. crushed under the door. are fluttering down. Nasser. K A W L ~ W ~ APARmNT.

smoke pouring from a few windows. strafing the upper windows of the building with machine gun fire to provide cover for the commandos who are running out the front door. Commandos are entering his room. Avner and Robert duck behind a bullet-riddled dumpster. crying. and bodies scattered on the ground. shaking. In the apartment building across the street. another firefight is in full force -.NIGHT 139 Abu Yussuf is trying to rise. coughing and blind from the smoke. 141 EXT.automatic weapon fire. The boy raises the vacuum cleaner tube.his fire provoking a dramatic increase in return &ire. and the commandos are raising their guns. growling. BEIRUT . His wife and his teenaged son. wounding one commando. All the guns in the room swing in his direction. their magnesium bullets driving him down on to the bed. . is rising from sleep in his bed. Adwan's body is shredded by the bullets. BEIRUT . screaming with rage as the commandos fire. holding a metal tube from a vaccuum cleaner. 140 EXT. Yussuf's wife throws herself in front of her husband just as the commandos fire. too late and the gunfire kills the woman and her husband. AVNER (to the commandos:) NO! STOP! But it's too fast. Adwan. Two commandos and Avner have entered the room. The boy drops the tube. perhaps severely -. aiming at the wounded man. Her bloody body topples onto his. sinks to his knees and raises his arms in surrender. He fires off a round of bullets in the general direction of his attackers. smoky air. A couple of Israeli commandos are there already.141 NIGHT Avner and Robert emerge from the courtyard of the building into gunfire. bodies of Palestinians lying on the sidewalk in pools of blood. The mattress F ' he's lying on bursts into flames. wounded by bullets and from shrapnel from the bomb that tore off his door. ABU YUSSUF'S Ap-ARTMENT. are standing in an inner doorway. screaming. the television on. 139 INT. what's left of his door swinging from its hinges. BEIRUT . THE COURTYARD OF THE APARTMENT BUILDING.NI- It's a gruesome mess. THE STREET OUTSIDE THE APARTMENT BUILDING. He gropes for his Kalashnikov. shouting. Commandos rush out of the buildings.

and the other commandos. and Robert and Avner. He checks his watch. block the street. idling. LOUIS My papa would like to meet you. LOUIS I don't like to keep my papa waiting. A Sayeret Maktal Commando gives a signal with his right hand. Louis is inside. . burning. AVNER I wasn't in Beirut LOUIS Someone was there. A W R I thought you ran the group. A narrow escapeway through the wreckage remains.DAY i43 Avner is sitting at a table. The Israeli army. nervous. OUTSIDE A COFFEEHOUSE IN PARIS . A beat. (beat) But you stayed away. He's been reading several French newspapers. The rear window rolls down. Louis stays in the car. AVNER who? LOUIS My papa. exhausted. A big car pulls up. He's been waiting a long time. Louis opens the door and slides over. making room for Avner. flipped on their sides. Other cars. LOUIS Everybody works for someone. He runs our little group. Avner stays at the table. head for their getaway rental cars. The cars speed away. according to every newspaper on earth. 142 OMITTED 142 143 EXT. waiting for Louis. After you paid so extravagantly for the information.

then gets in. . you don't expect me to -- . LOUIS If you feel carsick. You'll need to wear this. it's crazy. The car starts to drive away. h group of young children are standing around the car door. LOUIS'S CAR . the kids run off. AVNER Come on.DAY Louis holds out the mask. 144 INT. He catches up with it and slams his hand on the back of the car. Louis. Louis. . looking in at him. AVNZR Go to hell. The car starts to pull away from the curb. I brought candied ginger. Avner has to chase it a distance down the street. One of the kids is holding his mask. Avner hesitates. Avner stands up. Avner takes it. LOUIS (to the man behind him:) We're done here. I'm not -- Louis slams the door shut.DAY 145 Avner's mask is roughly removed. Louis takes a black sleep mask out of his pocket. chattering and giggling. AVNZR I need to tell my people where I'm going. blinking. 145 INT. it stops and the rear door opens again. As Avner. LOUIS'S CAR . AVNER I have a strong stomach. Blackness. Avner puts on the mask. LOUIS You don't know where you're going. gets out of the car.

I know how to cook. Papa hurries over. turns on the tap. his sister Sylvie. The light is gorgeous. points towards the kitchen area. a sheepfold.. INSIDE THE FARMHOUSE .waves him over and continues with his cooking. PAPA You'll help me.DAY Very old stone barn. Geese and a dogs patrol the yard. Avner brings the bowl to the sink.. NEAR THE FAENCE ALPS . Louis's Papa. PAPA Louis says you're a cook. He glances up. nudges Avner out of the way. A FARMYARD. some like small-time business people.146 EXT. including in one corner a large commercial stove.DAY 147 Avner comes through the front door into a large common room/kitchen -. sheds. The room is full of adults and many children. Avner walks towards the farmhouse and the sound of conversation. 147 INT. talking to a woman. Louis is in a corner. . main house. Some of the adults look like working farmers. He gestures with the large knife he's holding. PAPA (CONT'D) No! Don't wash! It will taste like boiled sponge. golden. You bring these . PAPA (CONT'D) There. AVNER I.. sitting on a stool. The driver of Avner's car and the large man are drinking wine.a room from the Middle Ages but with modern amenities. gives Avner a quick appraising glance. He points to the sink. turns off the tap. At a counter near the stove. a stable. Avner starts towards Louis when his sleeve is tugged. He hands Avner a big metal bowl filled with kidneys. is chopping vegetables. ringed by spectacular mountains. He looks down. in his vigorous 60s.. An old man in a battered cap and coat.

He's watching Avner and Papa walking together towards an orchard. drinking wine. Louis is watching their exchange. We are tragic men. the whole kitchen smells like piss. bake them in honey and dough. 149 EXT. gentle souls. THE FARMHOUSE ORCHARD . DAY 149 Papa is picking green plums off a tree. Papa holds his right hand up. is staring with an uncharacteristic sullenness out a window. Avner shows Papa his hands. PAPA (CONT'D) I'd have been a master but I have thick stupid butcher's hands. Peel off the fat. He dexterously peels off a kidney's thin membrane of fat. PAPA Skin them and prick them and boil them in sugar. AVNER Then why put them in the sink? PAPA If the juices spurt out. like yours. 148 INT. affectionately slaps his face. Across the room. flat against Avner's. gently. PAPA (CONT'D) Too big for a good cook! That was my problem too. He tousles Avner's hair. INSIDE THE FARMHOUSE . it's big mess. PAPA (CONT'D) Let me see your hands. Butcher's hands. AVNER These are going to be too sour to eat. tossing them into a big basket Avner is holding. (MORE) . DAY 148 Louis.

AVNER I can't do that. AVNER Louis said. . AVNER I have a papa already. TKE COMMON ROOM OF THE FARMHOUSE . to feed. 150 INT. They turn to go back to the farmhouse. Louis raises his glass in salute. but -- PAPA But you did what you had to. you'll see how nice they are. We'll pick a few. But -- AVNER You have to feed your family. PAPA And you are devoted to him. Food and wine are being served by the women. You call me papa. Louis is in the window. AVNER ?-an I here because of what happened in Beirut? PAPA Your papa must be proud of his son. PAPA (grinning:) Yes ! We don't work with governments. DAY 150 The whole group is seated around the massive table. let the rest ripen. Papa and Avner stare at him. There are too many? people . Papa stops picking and looks at Avner. PLDA (cont'd) A little torture. because you have to feed your family. Avner waves.

Avner starts to cross himself. PAPA (to Avner:) I blew up trains. one of the older woman raps her knuckles on the table. the guest doesn't want to hear your war stories. she was a young girl. trucks full of Germans daring the war. SYLVIE Papa. Louis deliberately crosses himself backwards. stopping him. Louis and Sylvie sit a few seats down. We stay away from government. My brothers died. who gives us obedient. Papa looks at Avner. (to the table. PAPA (ignoring her:) We paid this price so Vichy scum could be replaced by Gaullist scum and the Nazis could be replaced by Stalin and America.Papa is at the head of the table. Avner seated on his right. My papa and my sister were both hanged. crossing himself :) We say grace. angry) You lead us instead. . Papa grabs his hand. respectful clients who obey the rules according to which our business thrives -- Over this. LOUIS Our Father. bridges. The others start to cross themselves and pray. (to Louis. LOUIS Maybe our guest could lead us. PAPA It's not required.

who read nonsense and spout pompous bullshit about Algerians and. A small child is hanging on to Avner's hand. (to Louis. (to Sylvie. AVNER My . the large man and the driver are waiting by the car. not Algerians or French or flesh and blood or anything living. pointedly:) So I have sympathy for a man who can say "I have a papa. swinging. ? . your cousins.. in FRENCH:) I did it for my family. centaur! You minotaur! Sylvie laughs at this." Who does what he must for his family. PAPA In the resistance there were occasionally some of your uncles. Papa and Avner stand apart.AFTERNOON 151 Louis. LOUIS OLDER WOMAN (FRENCH) And punish those who (to Papa) transgress against us. angry!) It's not all for business! I didn't do all this for the fucking money! SYLVIE (FRENCH) why'd you do it then? You've made millions from this. PAPA (to Avner:) In my despair I fathered madmen who dress like factory workers but never do manual labor.. THE FARMYARD . and who love nothing.. Papa holds a wax paper parcel tied neatly with green gardener's twine. for you. PAPA I will say grace. 151 EXT.. You. whose I won't have my grandchildren prevarications and deceptions listen to his blasphemous -- -- PAPA (FRENCH) (to Louis.

You have my word. AVNER None. I t ' s r i g h t t o respond r o u g h l y t o such treatment. Louis hands Avner t h e mask and gets i n t o t h e c a r . AVNER ( t o Papa: ) Thank you. and Papa l e a n s i n t o Avner. When Louis i s w i t h i n e a r s h o t : PAPA ( C O N T ' D ) You pay w e l l and you pay promptly. c l o s e s t h e door.?nans. Do you t h i n k I ' m squeamish? Papa p a t s Avner's cheek. Papa p u t s h i s arm a c r o s s Avner's s h o u l d e r and walks him towards t h e c a r . PAPA ( C O N T ' D ) The world has been rough w i t h you. AVNER Oh. PAPA When it came t o k i l l i n g Ge. PAPA Ruben. even we d i d n ' t have such a f i e r c e a p p e t i t e f o r it. The window r o l l s down. PAPA I ' m i n business with death. b u t no more i n f r a c t i o n s . He hands Avner t h e p a r c e l : . s o w e ' l l c o n t i n u e t o g e t h e r . Benjamin and Moshe. AVNER We d i d n ' t know s o many would d i e . Papa r a p s on t h e g l a s s . w l t h your t r i b e . your f a m i l y . ( b e a t) T h e r e ' s some o p i n i o n t h a t you should b e punished f o r what happened i n B e i r u t . Avner g e t s i n t o t h e c a r . PAPA You remind me of myself a t your age.

. The car drives off. ?LRRIVING NEAR THE KITCHEN DESIGN SHOP. Louis reaches over and roughly pushes it back in place. Louis is thinking. He starts to lift the mask. LOUIS'S CAR. But you aren't family. and a Loire cheese. Avner doesn't know whether to stay in the car or leave. DRIVING THROUGH THE FRENCH ALPS . Selles sur Cher. curbside. Avner's embarrassed. Salameh. Papa walks away. LOUIS I have a new name for you. LOUIS NO. Avner removes the mask. LOUIS'S CAR. AVNER You know where he is. PAPA A few andouillettes and some boudin noir. black blood sausage. 152 INT. 153 INT. they cover it in ash to preserve it. Remember that. AFTREEEGW Silence. PAPA But you're not. AVNER Thank you. PA-DA You could have been my son. 153 PARIS . Avner is blindfolded. Louis winces slightly.LATE AFTERNOON The car pulls up to a halt. He puts his hand on the door handle. Silence. LOUIS Untouchable. AVNER I want Salameh. We'll do business. You know where all the names are.

He's in Athens in two weeks. AVNER The new rate. LOUIS Of course. AVNER Hussein al-Chir was the KGB contact. Avner nods. He's Black September's KGB contact. Avner doesn't respond. AVNER I'm tired of hearing that. I hear he's much tougher than his predecessor. and now he's defunct. You're wasting my time. AVNER Not one of our names.. Avner doesn't recognize the name and doesn't respond.000 for one name. LOUIS Three names for six hundred thousand is $200. LOUIS (CONT'D) We offer Muchassi's whereabouts at the new rate. Muchassi is his replacement. Avner starts to get out of the car. LOUIS Zaid Muchassi. LOUIS Zaid Muchassi. A safe house . AVNER I'll need you to get me a place to work in Athens. LOUIS But you put a bomb under Monsieur al-Chir's bed in Cyprus.. LOUIS Nevertheless.

a pile of five. surrounding each device with newspaper to prevent jostling. they're looking in disbelief at the address. rust-spotted cylinders. sit nearby on the floor. Robert puts the unusable four grenades in a canvas duffel bag. Four more of the cylinders. It's unfurnished. dinged-up. only four looked viable. 0 0 0 degrees.154 OMITTED 155 EXT. I'm altering them to use with a remote detonator.each pile tied with hemp. Each ball is like a little sun. DAY 155 Avner. a few rickety chairs. a couple of crates and two stacks of old mattresses -. A STREET IN A CRUMMY NEIGHBORHOOD. STEVE Louis's idea of a joke? ROBERT I've had nightmares that look like this. And also I should mention they're quite old. Cinderblock walls. 156 INT. are standing in front of a derelict building. more decrepit than the ones Robert's working on. . and a pile of four -. everything melts. THE SAFE HOUSE. We'll have to dump the rest. carefully wiring together four squat. cement floor. Steve and Avner watch him. The bad news is they're grenades. The air catches fire. Carl counts the mattresses. carrying a duffel bag and a small suitcase. ATHENS . except for a small transistor radio. Ir's unfmished and abandoned. ATHENS . Robert is sitting on the floor. It burns at around 5 . ROBERT (talking while he works) When they explode they'll toss little white balls of phosphorus around his room. dank. Steve and Robert. and then placing the contraption into a small suitcase. hooking these up to a remote-controlled fuse. DAY A large and utterly derelict apartment. while Hans is putting cartons of take-out food on one of the crates. the crummiest on a block of really crummy warehouses.

The door is opening. Red Army Faction! Red Army Faction! ROBERT ETA! ETA! Basque. don't shoot or we'll kill you. we paid too. I am with Fatah! PLO! PLO! It's been arranged. ATHENS . Robert makes a sign: Quiet. and he and Steve move to either side of the door. gently. Carl.. Steve is awake. we'll shoot. one of whom is the leader. gun drawn. Robert picks up the suitcase and the duffel bag and steps behind Avner. 15i INT. Four Palestinian men come into the room: one about fifty. Basque! . and one in his early twenties. One of the older men is carrying groceries. don't -- we have a right to be here. now. we're. Thank him for that.. we paid.2 2 . in pidgin ARABIC and GERMAN:) Put your guns away! Do it. The Palestinian carrying the groceries drops them as he and his comrades all draw their guns. named Ali. Hans and Avner are fast asleep. AVNER There's a porter at the hotel where Muchassi is staying. I have permission. THE SAFE HOUSE. STEVE Who provided these grenades? CARL Louis. Avner opens his eyes. STEVE Yeah. AVNER (over this. LATE NIGHT 157 Food containers are strewn about. Avner draws his . two in their thirties. He'll let us in the room when Muchassi's out. Robert squeezes Avner's hand. Ali flips the light switch. We paid too. ALI (ARABIC) I have this house from the French.

( p o i n t i n g t o C a r l and Hans ) T h e y ' r e Red Army F a c t i o n . p u t it down. t o Steve:) Jurgen! You a l s o ! S a i d lowers h i s gun. (pointing a t the others:) S a i d . t h e man who works f o r t h e French. OK. AVNER ( i n GERMAN. ( p o i n t i n g t o Avner:) Bruno. E v e r y o n e ' s g o t a f i n g e r on a t r i g g e r . ONE OF THE OLDER PALESTINIANS Who a r e you? English? ROBERT I ' m ETA. AVNER What French? Louis? The P a l e s t i n i a n l e a d e r s h r u g s . Hans and Robert lower t h e i r guns n e x t . a s does S t e v e . OK. S t e v e and t h e youngest P a l e s t i n i a n c o n t i n u e t o h o l d t h e i r guns o u t . AVNER OK. A beat. ALI (ARABIC) S a i d . AVNER (CONT'D)(HALTING ARABIC:) Who t o l d you t o come h e r e ? ALI (HALTING GERMAN: ) The man a t t h e b a r on H a d j i d a k i s S t r e e t . a f t e r a q u i c k bemused g l a n c e a t Avner. Avner g l a n c e s a t C a r l . The l e a d e r o f t h e P a l e s t i n i a n group f o l l o w s s u i t . scared. George. Jurgen. a s do two more P a l e s t i n i a n s . Afrikaans. I ' m A l i . a t e n s e f a c e - off. X I We're from Amman. t h e n t h e n lowers h i s gun s l o w l y . now. H e ' s from Hamburg. C a r l . n o t r e c o g n i z i n g t h e name. Abed. T h e y ' r e a l l p o i n t i n g t h e i r guns. OK. (pointing t o Steve:) He's ANC. .

Steve i s s i t t i n g on a m a t t r e s s . c r o u c h e s b e s i d e s S t e v e . A L I (CONT'D) W e p a i d f o r two n i g h t s . t h e n . So i s it. goes t o t h e m a t t r e s s . he resumes h i s p o s t . . ~ a n sand ~ o b e r ta r e s l e e p i n g . ONE OF THE OLDER PALESTINIANS Yes. THE SAFE HOUSE. a l s o k e e p i n g watch. So w e ' r e s a f e ? AVNER Safe . Two o t h e r P a l e s t i n i a n s a r e a s l e e p . S a f e house. goes t o t h e r a d i o . AVNER He t o l d us t h e same. c r o u c h e s .o u t . S t e v e s t a n d s . s t a r i n g a t S t e v e . t u r n s t h e d i a l back t o t h e I n d i a n s t a t i o n . crouches. . Robert c u r l e d around t h e s u i t c a s e . S t e v e g e t s up. S a t i s f i e d . ALI SO. gun s t i l l i n h i s hand. Avner and A l i a r e t a l k i n g while t h e r a d i o p l a y s b e h i n d them. t u r n s t h e d i a l t o Greek t a v e r n a music. looking up a t Steve f o r an i n s t a n t . The P a l e s t i n i a n r e t u r n s . Everyone nods i n t e n s e g r e e t i n g . s t o p p i n g when he h e a r s t h e opening notes of The S t a p l e S i n g e r s ' "I know a p l a c e . " With a t e r s e nod of agreement. t u r n s it on. The twenty-year o l d P a l e s t i n i a n goes t o t h e r a d i o . 158 INT.. The remnants of t h e i r d i n n e r a r e mingled w i t h t h e I s r a e l i s ' t a k e . ATHENS . AVNER Yes. f i d g e t s w i t h t h e d i a l till he f i n d s a s t a t i o n p l a y i n g I n d i a n music. he s a i d it was safe. a woman s i n g i n g i n a h i g h n a s a l v o i c e . c o n t i n u e s t o move t h e d i a l till he f i n d s an English-language s t a t i o n . and t h e P a l e s t i n i a n g o e s ' b a c k t o h i s post. The twenty-year-old P a l e s t i n i a n i s l e a n i n g a g a i n s t a w a l l . NEARLY DAWN 158 d a r l . Avner and A l i a r e t a l k i n g q u i e t l y . h i s head on t h e d u f f e l bag. Everyone i s s a f e . s i t s .

easy:) We have a lot of children.. ALI You sound like a Jew.. Even Jordan. and they won't help when Egypt and Syria attack. so we can wait forever. You'll all die. but they hate the Jews more. waiting for "Palestine. we can make the whole planet unsafe for Jews. Ail What? AVNER This is a dream. and thinks you're animals. if we need to. You'll never get the land back. They look at each other. AVNER (smiling:) Fuck you. Your people have nothing to bargain with.. and. You can't take back a country you never had. they'll have children. telling you what you know is true. ALI Eventually the Arab states will rise against Israel -." ALI (a shrug. Israel will cease to exist. Avner doesn't respond. Only .they don't like Palestinians.. old men in refugee camps. AVNER I guess. I'm the voice inside your head. ( MORE ) . ALI Yeah. but then the world will see how they've made us into animals. and . the rest of the world will see by then what the Israelis do to us. and the world feels bad for them. AVNER You kill Jews. It won't be like 1967.

village he came from? You honestly think you have to get back all that. All you Germans are soft on Israel.. That's why you European reds don't get it. you give us money but you feel guilty about Hitler. nothing. IRA. PLO -. .we all pretend we care about your "International revo1ur. Home is everything. You say it's nothing. It absolutely is. ALI (cont'd) They'll start to ask questions about the conditions in our cages. ALI It is. ALI You don't know what it is not to have a home. and the Jews exploit your guilt. ETA. How long did it take the Jews to get their own country? How long did it take the Germans to make Germany? AVNER And look how well that worked out." But we don't care. ALI What? AVNER You really miss your father's olive trees? The crappy. rnER You're Arabs. chalky soil and stone huts? That's what you want for your kids? A beat. It'll take a hundred years. Ali. but you have a home to come back to. but we'll win. ALI You're a Jew sympathizer. We want to be nations. Ali looks into Avner's eyes. My father didn't gas any Jews. There are lots of places for Arabs. . AVNER Tell me something.ion. ANC.

Steve gets back into the car. but still he tries to see into the room. driver's side. The porter tries to follow them in. I watch. The street is empty. Robert. They wait. THE SECOND CAR OUTSIDE THE HOTEL ARISTIDES . carrying a suitcase. Robert pushes past Hans. leaving the room. Carl in the back with the duffel bag. then Hans step inside.159 OMITTED 160 OMITTED 160 161 INT. Steve gets out of one of them. PORTER No. THE HOTEL ARISTIDES. DOWN THE STREET FROM THE HOTEL ARISTIDES . The porter smilingly accepts the money. yes? HANS Yes. They're waiting. He looks both ways. They're not speaking. watch a porter unlock the door to a room. about a hundred yards down the street from the hotel.. . Hans blocks the doorway. Avner at the wheel. Hans in the passenger seat. HANS (to Porter:) You go downstairs. 163 EX?. CORRIDOR OUTSIDE . PORTER (CONT'D) You only take money in closet and papers. He takes out a pistol with a silencer and shoots out the street light nearest the car. ROBERT Let's go. Hans hands him a few more bills. 162 EXT. NIGHT 162 Two cars pulls up.DAY 161 Hans and Robert.LATE NI Robert and Avner are inside.

The Russians stay outside. Stay calm. comes out of the black Mercedes . Wait for the signal.. STEVE Why are the Russians waiting? Why don't they leave? FIANS They're waiting. NIGHT 164 Hans sees a black Mercedes coming down the street. We're waiting. . NIGHT Hans. HANS Look. STEVE (CONT'D) Cinderella.164 INT. SECOND CAR OUTSIDE THE HOTEL ARISTIDES .LATE NIGHT 165 Avner and Robert watch. as Ali and another Palestinian from the safe house get out of the black Mercedes. slouched down. FIRST CAR OUTSIDE THE HOTEL ARISTIDES . 165 INT. Zaid Muchassi. ROBERT Do we detonate if the other Arabs go into the room with him? 166 INT. . STEVE What are they doing? CARZ. The black Mercedes arrives at the hotel. STEVE The Russians arrive in their pumpkin coach. A Palestinian man. FIRST CAR OUTSIDE THE HOTEL ARISTIDES . Two Russians in suits get out. Carl and Steve are watching the Russians. and. Muchassi enters the hotel with the other Palestin~ans.

SECOND CAR OUTSIDE THE HOTEL ARISTIDES . Nothing. The wait is agonizing. What do we do? Hans reaches over to the back seat. or -- STEVE He screwed up again. AVNER He's in his room. He lights a cigarette. not -- 168 INT. Stupid shit piece of -- AVNER What?! What?! Oh fuck not again. STEVE I'm calm. ROBERT Shit. Robert flicks the swltch rapldly back and forth. what's -- CARL Another malfunction. HANS AND CARL'S CAR . it should have exploded by now. or. chatting and smoking. Did the -- Maybe it's delayed. . . STEVE. STEVE Where's the explosion. lounging near the car. Tell the goddam Russians to leave. 167 INT. ROBERT Is he alone? How do we know he -- AVNER DO IT! DO IT! FLIP THE SWITCH! Robert flicks the switch. grabs the duffel bag.ATE NIGHT 167 Avner and Robert watch the Russians.LATE NIGHT They're waiting for the blast. Finally a porter comes out the front door of the hotel. Do it.

and . Avner doesn't know what to do next.. nodding to the KGB men. AVNER It has to work. OUTSIDE THE HOTEL ARISTIDES . He walks briskly but calmly towards the hotel. The Palestinians confer with the KGB agents. what's the matter with it. I'm sorry. surprised.LATE NIGHT 171 Hans is rushing up the stairs. the porter in pursuit. Avner ducks into a doorway so that Ali doesn't see him. goes in to the hotel. but he stops when he sees Ali and the other Palestinian emerge from inside.LATE NIGHT 169 Robert is pressing the remote. 170 EXT. Hans... 171 INT. 169 INT.. T m STAIRWAY OF THE HOTEL ARISTIDES . I don't -- Robert spots Hans heading across the street towards the hotel. The porter sees Hans and. crosses the street. Avner gets out of the car. .LATE NIGHT . ROBERT What's he doing? AVNER Wait here. it has to. Avner is nearing the front door. I. Avner grabs it from him and tries flicking the switch himself. AVNER AND ROBERT'S CAR . CARL Careful with that stuff! What are you -- Hans gets out of the car with the duffel bag. goes in after him. can't you make it - ROBERT We'll have to go back and retrieve the explosives. moves towards the hotel.

They're both panting with exertion. finds it.just as Hans is running out. OUTSIDE THE HOTEL ARISTIDES . as he goes up the stairs. When Muchassi sees the grenade he forgets about the gun and rushes towards the door. inside. There is a flash and the door tears off its hinges. Hans and the porter fall. tries frantically to pull the door open. clumsily. The porter. in which he still holds a gun. blowing into Hans. forcing the Palestinians and the Russians to dive for cover. PORTER Hey! Hey mister! What are you doing? What are you doing in here? Hans. then. and with his right hand takes out his gun. Hans. much larger explosion: the other bombs in the room detonate. Hans throws the door off and staggers past the porter. clouting Muchassi in the face.=ISTIDES1112 LATE NIGHT Hans. grenade in his left hand. shoots the lock and kicks the door open. Hans fires his gun at the black Mercedes's window. keeping his distance. . Then. gun in his right. A second. He tosses the grenade into the room. HOTEL . shattering it. little balls of phosporus sailing outward into the night air. freezes when he sees the grenade. transfers the grenade to his left hand. THE HALLWAY OUTSIDE MUCHASSI'S ROOM. guns drawn. LATE NIGHT 173 The KGB agents and the two Palestinians look up as the glass in Muchassi's room's windows blow out. who is scrambling to pull his gun from his coat. hangs the duffel bag on his left arm. Hans gets up and runs down the stairs. pushing him with a THUD into the hallway wall opposite. right behind him. Hans gropes in the wreckage for his gun. 172 INT. 173 EXT. yelling in Arabic. he pulls the grenade pin with his right hand. Hans swings the duffel bag with his left arm. knocking him back into the room. terrified. pulls the door shut. he hangs on with both hands to the knob as Muchassi. and stumbles down the stairs. who is pressed against a wall. dropping his gun. Hans throws the bag into the room. past Muchassi. Smoke rolls out of the open door. unzips it and takes out a grenade. stops outside Muchassi's door. breathing heavily. The porter arrives behind him. Ali and the other Palestinian. start back into the hotel.

standing next to Carl. Then Ali falls. 174 INT. driving. Hans grabs the porter by his collar and drags him towards his car. Carl up front. One of the Russians takes aim at Hans. Avner. He sees Avner. you're going to This is thanks to you. He shoves the porter in the back seat and dives in after him. Robert in the back. Ignoring the bullets. They make eye contact for a moment just before the car screeches up. you you incapable of making bloody monster! something that works? . Hans has reached the car. crouching. forcing Avner to run to another doorway. the doorway is empty. you murderer. Ali searches the doorways across the street till he finds Avner. The car door is open for Avner. Ali fires. THE FIRST CAR . Robert and Carl run. also fires. The porter stops struggling. Hans and the porter duck in the middle of the street. holds up his . and scramble in to Steve's car. shouting. struggling porter. The porter appears at the dooz of the hotel. blocking the two men from one another's sight. as the other KGB agent starts firing. The Palestinian in his 30s is bending over Ali. misses. trying to see how badly he's hurt. shoots the KGB agent in the back. He props Ali up. PORTER (GREEK) HANS You lied to me and you (to Robert: ) tricked me. the other two Palestinians run to Ali . who is running across the street towards his car. Ali turns in the direction of the shot. Steve.LATE NIGHT 174 The car is tearing through the city. As the car drives away. hit by a bullet fired by Carl. Bullets strike the car. who is standing across the street. the Palestinian in his 30s heads for Ali in the street. are hell. Back at the black Mercedes. screaming. he falls. from the doorway. The car drives off. but he's crying and cursing Hans.22 and fires a shot through the roof of the car. Robert. Steve reverses the car and lurches into the street. PORTER J GaEK ) BOMB! BOMB! THIS MAN THREW A BOMB INTO THE ROOM! HE KILLED THIS MAN! POLICE! KILLERS! He runs after Hans. Robert and Hans try unsuccessfully to subdue the cursing.

as does Steve rror.. I do thisl I WAS S NOT TO BUILD TEEM ! stares at RO ert. . oh my God. . we didn't check for prints and we -- blown yourself to ROBERT It isn't my fault if. . The p rter is now moaning to . (over the at he's sa -- STEW C * j to.. * * quiet! Shut up! * * * death. [over Steve:) you get Did you get the detonator!? We X i e f t the car.Robert) . Oh my God.

The team gets in the third car and drives away. and walks away. they figured I'm good with small machines. volume low. an ugly caricature of Nixon and DeGaulle.A SMALL COFFEE HOUSE IN PARIS . ROBERT Shin Beit wanted bomb dismantlers. Hans flings the money in the porter's lap. LOUIS Salameh is in London. Political posters on the wall protesting the war in Vietnam. this makes Avner nervous. till he has a large pile. Everyone hands him bills. mostly empty coffee house. spits on it again. . The porter spits in disgust and throws it back at Hans. He goes there periodically to meet with his CIA contact -- AVNEX? His what?! LOUIS Salameh works lor the CIA. small black-and-white television is playing on the bar. a toymaker. He goes to the porter and offers him the stack of bills. He looks at the money on the pavement. The porter watches them drive away. 176-186 OMIT 187 INT. tney pulled me from the army. the Algerian conflict. After Munich. AFTERNOON 187 Avner and Louis in a dim. HANS Give me some money. leaving it to blow down the street. HANS (CONT'D) Here. they asked if I could build bombs instead. Louis is rather ostentatiously counting American money from an envelope Avner's handed him.

188 OMITTED . For the usual price. hasn't he? Louis nods towards the TV LOUIS All manner of costly exercises. LOUIS Shooting tourists in the Athens airport. And that Mossad agent in Barcelona before that. LOUIS Salameh guarantees that Black September won't touch American diplomats. people wandering. AVNER Do you have to do that? LOUIS Salameh is in London. They don't ask what he uses it for. seriously injured people in hospital beds. In exchange the CIA gives him lots of money. dazed and bleeding. AVNER Did he tell them about Munich? In advance? Did the CIA know about Munich? LOUIS The CIA didn't even know Black September existed before Munich! Since then he's been busy. bodies on the ground. Europe hasn't been this interesting since Napoleon marched to Moscow! Louis starts to count the money again. Blowing up pharmacies in Amsterdam. CUT TO TV SCREEN : Footage of the Athens airport shooting: the shattered airport lounge.

Robert sits near him. brooding. STEVE Why didn't you shoot him?! AVNER He had bodyguards. working fastidiously with razors. LONDON . Your enthusiasm. Civilians. colored inks and stamps he retrieves from an open salesman's sample case.NIGHT Hans is bent over a desk. a small iron. watching him work with interest. silent and removed from the others. checking and loading guns. altering passports and visas.189 INT. STEVE Salameh? CARL Wearing sunglasses in the rain. exhausted. I'm the only one who actually wants to shoot these guys! ROBERT You can take my place the next time out. I'd have done it! If you'd ever give me have a chance to to actually shoot someone. a gun cleaning kit at hand. . AVNER He's here for eye treatments STEVE Salameh. Everyone's frayed. glue. Carl and Steve are sitting. STEVE Were they armed? Then they're not civilians. You saw him? You followed him! ? AVNER Yes. Avner is cleaning. HANS'S ROOM IN A SAFE HOUSE. CARL Maybe that's why we never let you do it. CARL We followed him today from his doctor to his hotel.

incidentally. habibi: These guys we're killing are dressed in expensive suits. this is London and not some ugly Arab village. . Carl. ROBERT Since when? STEVE Yeah. or.. why start worrying now? CARL Do you have any idea how many laws we've broken? HANS Well. CARL I'm not disoriented. it's counter-productive. It's time to stop your hand-wringing. I forge the documents that get you in and over and across and around those laws so I have some idea. AVNER (overlapping above:) only our target gets hurt. yes. STEVE Why don't you make a list of every single law.. and that disorients you. every night. which has no death penalty... STEVE I'll tell you what your problem is. CARL (overlapping above:) Including. CARL Do you know how many treaties we've violated? HANS And still I manage to get a night's sleep. the laws of the State of Israel. or. I'm keeping my sanity by occasionally reminding myself that in spite of the work I do.

ROBERT
I'm going to vote that we adjourn
our little minyan for the evening.
STEVE
(Overlapping above:)
But it's the same old war we're
fighting, over the same old scrap
of desert.
CARL
(overlapping above:)
-- remembering I'm still at least
in principle a human being --
HANS
Remembering that you're human is
one thing, broadcasting it so
relentlessly is something else.
HANS
(to Avner:)
Are you going to call a halt to
this? I'd recommend it.
CARL
(overlapping above:)
A thing whlch I've noticed some
people surrender all too willingly.
ROBERT
Let's find a pub. Who besides me
needs a drink?
STEVE
We've brought our war to Kensington
and, and Copenhagen and it's not
like these European anti-Semites
don't deserve that!
Until we learn to act like them
we'll never defeat them.
CARL
We act like them, all the time. You
think they invented bloodshed? How
do you think we got control of the
land? By being nice?
STEVE
1 think we have a double-agent in
our midst. Pull down his pants,
see if he's circumcised.

Carl suddenly goes for Steve. They knock into Hans's table,
upsetting and ruining his work, spilling ink. Hans yells and
scrambles on all fours to rescue his documents while Avner
and Robert get in between Steve and Carl, who keep struggling
to get at one another.
AVNER ROBERT
Stop it! Goddamn it, stop Please, please, caim down,
it! Both of you! calm down. Everyone's
just ... Just tlred and --
HANS
(over the above, to
himself: )
Nonsense, nonsense, infantile
undisciplined distraction and
nonsense.
CARL
(to Steve,over above)
My son died in ' 6 7 , you foulmouthed
sonofabitch! Everything you can ask
I've done for Israel.
HANS
(to Carl:)
Get a grip on yourself! Ask for a
reassignment if this is so
distasteful!
CARL
(to Hans:)
Isn't it distasteful for you?!
STEVE
No. And know what? The only blood
that matters to me is Jewish blood.
What's your problem?
(to Avner:)
Nice job leading, by the way.
Steve leaves the room, slamming the door as he leaves
AVNER
We'll kill the bodyguards if
they're armed.
c m
They 're armed.
AVNER
Then we'll kill them.

190 EXT. A STREET I N LONDON - NIGHT - RAIN
CLOSE UP of Salameh and h i s bodyguards, wallling i n t h e r a i n .
Salamenh and h i s bodyguards a r e t a l k i n g :
BODYGUARD ONE ( I N ARABIC :)
You c o u l d t e l l , s h e was h o t f o r
you, b o s s .
BODYGUARD TWO ( I N ARABIC:)
I t ' s t h i s t h i n g about B r i t i s h
g i r l s . They were a l l over u s .
SALAMEH ( I N ARABIC:)
Sami, you t h i n k e v e r y g i r l I meet
i s h o t f o r me.
BODYGUARD THREE ( I N ARABIC:)
Maybe S a m i ' s h o t f o r you.
BODYGUARD ONE ( I N ARABIC:)
You know how you can t e l l ? With
g l r l s ? They swallow, and t h e y
-
wlden t h e u n o s t r i l s . When t h e y ' r e
t u r n e d on. R e a l l y . Watch f o r it.
BODYGUARD THREE ( I N ARABIC:)
Maybe you should c a l l t h a t guy, t h e
one who i n v i t e d u s , maybe he has
h e r number, you know, you c o u l d
c a l l h e r and say ...You know --
BODYGUARD TWO ( I N ARABIC:)
Say " H i , i s it t r u e a l l B r i t i s h
g i r l s want t o fuck Azrab men?"
SALAMEH ( I N A R A B I C : )
Stop t r y i n g t o marry m e o f f , I ' m
n o t ready.
BODYGUARD ONE ( I N ARABIC:)
Who's t a l k i n g about marrying?
BODYGUARD TWO ( I N ARABIC:)
It's t r u e , they a l l think i t ' s cool
t o fuck an Arab. B r i t i s h g i r l s .
BODYGUARD THREE ( I N ARABIC:)
Then how come none o f them wants t o
fuck you?

Steve crosses the street and follows them. while Hans crosses the street to Steve. drunk. He crosses the street. separating Hans and Steve from the Arabs. Orrin. The first drunk American keeps trying to spar with Avner. very quickly. almost falling. . jabbing. who the fuck is * Roger. DRUNK AMERICAN MAN (CONT'D) SECOND DRUNK AMERICAN * Hey. the other apparently not. DRUNK AMERICAN MAN Come on get up Roger Burke you ugly sumbitch! What the fuck are you -- Avner tries to ignore this man and keep walking. they start young.. English women. Avner has moved ahead of the group of men. DRUNK AMERICAN MAN (CONT'D) Put em up you fat wet pussy. blocking the sidewalk. Avner staggers to one side. Avner looks back and nods to Hans.. grinning idiotically. stuff the girls back home would kill you if you asked them. Steve and Hans behind them. one of whom is drunk. Two more Americans appear. you fuckin jerk! this. then starts to walk. The American has both fists up. it's Waitaminnit waitaminnit * fuckin Roger Burke! Get up. hard. Hans trailing behind. Keeping eye contact across the street. who'd you think * this is. BODYGUARD ONE (IN ARABIC:) Damn! Damn! She was hot! And I am lonely! BODYGUAIUI TWO (IN ARABIC : ) And they're all super-experienced. that's. let's show these Limey fucks what a -- Avner tries to shove the American away as the three Arab men push past them and walk on ahead. Avner starts to follow them across the street. walking ahead of the Arabs. but the American starts sparring with him. Steve and Avner follow the group of men as they turn a corner.in the.shoulder. * . look who it is. to move ahead of the men. they know how to do stuff. Steve and Hans behind them. appears next to Avner and punches him. Suddenly a big American man in a raincoat.

HANS Forget it! Forget it! They. THE. The second drunk American throws himself on Steve. come on. Steve is ready to slug the third American when Hans returns. they're whyn't you duck? gonna call the cops or whatever the fuck they call em here.Hans has managed to slip past rne drunks and race ahead after the Arabs. hit him. against the nearest wall. SECOND DRUNK AMERICAN MAN STEVE (calling to the third (trying to shake the guy American: ) off:) Get 'im. what're you waiting for? The second American is laughing idiotically as Steve throws him off. he GET. they had a car. FUCK. THIRD AMERICAN Sorry about my friend. OFF. get im you fag. who tries to shake him off. hit Orrin. he's a fucked up belligerent guy with a serious drinking problem. come on. Get out of my -- The third American srops Avner from leaving. just. STEVE Shit! (to the Americans:) Step back AWAY from us you -- AVNER Just. AVNER TXIRD AMERICAH (trying to get past Lay off it you asshole. They're gone. Awww. Avner falls. let's -- . shit Roger I didn't -. ME. The first drunk American spins Avner around and this time lands a hard punch to Avner's jaw. them) that's not Roger Burke. DRUNK AMERICAN MAN SECOND DRUNK AMERICAN Aw. you moron. Steve grabs the first American and shoves him aside.

AVNER Can I. we're sorry. my friend -re -- thought you w- A W R It's OK. I work in the morning. we. man. and soon there's a game going on. we let him get -- AVNER STEVE Was it him.. She looks up. Steve turns back and shouts at the Americans: STEVE Goddamned asshole drunk Americans! HANS We should have used Louis's men to help us. AVNER We must have the same job then.NIGHT 191 Avner is sitting in at the bar. About 50 feet behind them. Hans and Steve walk away. eying an attractive woman at the other end of the bar. He moves to a stool next to her. THE BAR OF THE HOTEL EUROPA. past Avner Steve and Hans. AVNER What kind of work? THE WOMAN The kind that drives you to drink. 191 INT. We're slipping. The first American smlles at Avner. LONDON . I can't believe we let him. the drunk Americans are getting Into a car. suddenly. SECOND DRUNK AMERICAN Look. did you see if it It was Salameh! Of course it was Salameh? was him! God DAMN! * Avner turns around again. he looks away.. drinking alone. . nursing a scotch neat. Avner. then calmly gets in and the car speeds away. winks and flips him the bird. ? THE W O W (a London accent:) I have to go to bed soon. They no longer seem drunk.. forget it we.. I can't.. .

just. .. can't. . E smoke. . TIiE W I love your accent... ou're very n and are you really going to make me ask? Avner seriously consi R I... . once r i n k s on the bar._:. . does it? ER i: so.. ER You're very attractive.. ._ . Pity. . TEE 'NO (sadly) If you come to your senses.

NIGHT Avner is going to the lift when he runs into Carl. Avner ? AVNER I'm. THE LOBBY OF THE HOTEL EUROPA . You think they were CIA? CARL They could have been. Everyone does. Maybe he isn't but they're using him to feed us information. but you have to do it running. AVNER The drunk Americans. . Carl shakes his head "no" when he sees AVner. Ask my mother.. not comfortable with confusion. From the start you've seemed. For all we know. Avner smiles.. AVNER stop chasing mice around the inside of your skull.@ 192 INT. c m I was born reluctant.. You'll do any terrifying thing you're asked to do. CARL I never thought you'd last. They work both sides. reluctant. Louis's CIA. Or Louis is Mossad. AVNER I thought the same about you. just coming in from a drizzly night. Carl considers Avner for a moment. And Ephraim's demanding we give him Louis because he knows we expect him to do that. You ever feel reluctant. then smiles. Or Mossad is giving it to the CIA which is giving it to Louis. with no direct link. CARL I knew guys iike you in the army. .

CART,
You think you can outrun doubts,
fear. The only thing that really
scares you guys is stillness.
AVNER
And fatigue.
CART,
I envy your stamina. But. ..
everyone's overtaken, eventually.
The mice need a brandy. Will I
meet you in the bar?
AVNER
No, I'm on my way Up to...
You'll be alright drinking solo?
CARL
Just a shot to numb the brain.
AVNER
Beware the local honey trap.
CARL
Indeed?
AVNER
You can't miss her. You don't
really want to.
Avner starts towards the lift, then turns to say something to
Carl. But Carl's already gone in the bar.

192A OMIT 192A

193 INT. AVNER'S ROOM IN THE HOTEL EUROPA, LONDON - NIGHT 193
Avner is on the phone.
AVER
I'd like to make a collect call to
Brooklyn New York, in the US. 212-
625-6570. It's Avner.
The phone rings several times. Daphna answers.
DAPHXA
(V.O,, very softly:)
Hello. ..

OPERATOR
This is a trunk call from Mr.
Storsch, do you accept the charges?
In the background, in Brooklyn, Avner hears the sound of a
baby crying. He winces.

AVNER
Sorry, sorry.
OPERATOR
Do you accept the -
DAPHNA (V.O.)
Yes, yes.
It took me hours to get her --
A W R
Sorry, sorry ...
There's muffled talking in the background, Charlie barking,
Daphna bringing Geula from her crib to the phone. Avner
listens intently.
AVNER
Hello?
DAPHNA (V.O.)
(still soft, trying to get
Geula to sleep:)
I miss you too.
You're in England? Or Australia?
Or... ?
AVNER
Yeah.
I'm thinking, after I do this one
thing I have to do, I can come to
see you.
DAPHNA (V.O.)
Brooklyn is depressing, it's got
more churches than Jerusalem.
Avner hears the sounds of Geula, gurgling, noise-making.
DAPHNA (CONTVD) ( V . O . )
Listen to her talk.
Siience.

AVNER
(softly:)
I don't... Geula are you ... ?
Hey. Hey Geula. Are you there?
This is your daddy. I'm your papa.
I'm...
(He starts to cry. He
pinches his arm brutally
to stop the tears:)
Remember my voice, baby. Daddy
loves you. Daddy misses you. This
is what I sound like. OK.
Remember my voice.
DAPHNA (V.O.)
She fell asieep. She'll dream about
you.

194 INT. AVNER'S ROOM IN THE HOTEL EUROPA - NIGHT 194
Avner is on the bed, not asleep.

195 INT. THE UNDERGROUND PARKING GARAGE AT 31 CONNOLLYSTE+SSEL95
MUNICH - NIGHT (NEP STADIUM)
From a distance, police and soldiers and qovernment officials
watch as the athletes, blindfolded and bound to one another,
facing out in a ragged circle, shuffle-step towards a dark
green bus; they encircle the armed fedayeen, who are using
them as human shields.
The group awkwardly boards the bus, the fedayeen mixing in
with the hostages and hastening them on board.
TONY
You're doing beautifully, really
beautifully, just keep moving and
don't stop.
SALAH
You're fine, this is all good,
everyone is doing what they should
do.
BADRAN
Are they -- those people, are they
photographing us? IS that allowed?
AN ATHLETE
Are we going to -- is it the
airport? Can we talk to someone,
just --

Issa looks down towards the reporters and cameras. right? I believe you. A FIELD OUTSIDE MUNICH OLYMPIC VILLAGE . I believe what you're saying. The fedayeen crouch in the aisle of the bus. ABU HALAH It'll be over soon. sirens blazing. still bound. We get on the bus and we fly away and you go back to the Games or home. 197 EXT. just to say we're alright. The bus and copters. ON BOARD THE BUS. OK? We'll just get on the bus. all armed. ABU H?+LAH It's the truth. and German soldiers and policemen. You go home. looking out the widows of the bus. all standing silently watching. guns at the ready. their blindfolds now off. TONY Shut up. I'm telling you the truth. then nods to the other fedayeen. MUNICH . captives and captors are ringed by dozens of police cars. OK? AN ATHLETE Just to tell our families. 196 INT. NIGHT (NEP STADIUM) 196 The athletes are sitting.NIGHT (~0~01197 AIRFIELD ) The Israeli athletes. Tony nods. are being herded with panicked speed by the masked fedayeen from the dark green bus onto two helicopters. The helicopters' blades are already rotating rapidly. bound but not blindfolded. . ISSA (to Tony:) Take off their blmdfolds. AN ATHLETE To Israel? We'll go back to Israel. who quickly remove the athletes' blindfolds.

AVNER'S ROOM IN THE HOTEL EUROPA . He passes Carl's room. and he falls against Abu-Halah. his laughter turns to terrified sobbing. Avner Listens.NIGHT 200 Half an hour later. They both fall in an embrace. He pauses in front of it. Avner comes into the bar. Matching scents. INT. half amused. is laughing nervously. half jealous. He carefully puts his ear to the door. reach down and with angry. THE LIFT IN THE! HOTEL EUROPA . He knocks again. The captives and the captors watch him losing it. NIGHT 201 Avner smells something in the air. Avner turns to leave and then notices that the door is almost imperceptibly ajar. sweating. 200 INT. Abu-Halah. who clumsily grabs to keep the athlete from falling. NIGHT 199 Avner sits up in bed with great violence. INSIDE THE HELICOPTER . hesitates. . breathing hard. Abu-Halah disentangles himself while his comrades shout at him. Carl's not there. you asshole. . NIGHT (TOXOL AIRFIELD) 197A Yaakov Springer stumbles. He sniffs the perfume again. and neither is the woman. Tony and Paulo step in. shove him aside. 198 OMITTED 199 INT. He raises his wrist to his nose and sniffs it. THE BAR IN THE HOTEL EUROPA . Carl. looking for Carl. He has his key out. He listens. frightened violence haul Springer to his feet.. 201 INT. 202 INT. AVNER Wow. AVNER (softly) I saw her first.NIGHT 202 Avner's on the way to his soom. He's having a panic attack. He knocks softly and waits. He grins. as he starts to stand. AN UPPER FLOOR HALLWAY IN THE HOTEL EUROPA .

A hiss of air escapes his throat. Carl's head is resting face down on the pillow. 204 INT. draws his gun. 203 INT. which is turning black with blood.NIGHT Avner. and steps into the room. food in front of them. doubling over. checks out the bathroom. Papa shuts Louis up with a backhand wave. under the hair. . his face spasming into a scream. naked. shutting the door. Robert is drinking. Only Papa is eating. they're from the coast. He turns Carl's head. PAPA You should have had the boeuf a la catalane. surveys the room. He crouches by the bed. is a small black hole. CAIIL'S ROOM. He's shaking. PAPA Pork sausages with garlic and pistachios. goes to the bed. slowly. AVNER Car1? He pushes the door open.LATE NIGHT Avner. Papa pushes it towards Avner. enough to see that the exit wound in his forehead is large. THE HOTEL EUROPA . gun ready. A SMALL RESTAURANT. LOUIS Maybe he doesn't eat pork. on the bed. PARIS . Carl is lying face down. At tne base of Carl's skull. Louis and Papa are seated. it's what they do best here. (to Louis:) You have the parcel? Louis puts a wax paper parcel tied with green twine on the table. He gently puts Carl's face back into the pillow. Avner looks both ways down the hallway. Robert.

Avner opens the envelope. ?: . You're not the only people looking for names. Louis hands Avner an envelope. Tetoun it's called. We live and we die at the places where those secrecies meet. she's there now. LOUIS She's Dutch. removes four photos and examines them. . Agatha's day.~ PAPA For which you pay nothing. That's what we accept. she's entirely business-minded. not political. AVNER You're telling me that I'm being hunted now. (to Louis:) Show our friend the photographs. . PAD-A We inhabit a world of intersecting secrecies. We're giving you this. He immediately takes one and hands it to Louis. This is dependable information.milky and peppery and very good. nods. . . This alerts them. They look at each other. And a cheese from the mountains. it's made by women for St. Papa watches them. our local word for "tits" -. Louis looks at it. AVNER That's her. PAPA They're delicious. Yes? We buy information for you from your enemies. She lives in Hoorne. You understand why? AVNER Because you want me to believe you had nothing to do with my partner's murder.

a s t h e b i r d s t h a t a r e c a u g h t i n a s n a r e -" ROBERT " -." Louls shows Avner a n o t h e r photograph.. PAPA E v i l f a l l s suddenly. "For a man knows not h i s t i m e . . PAPA "The r a c e i s n o t t o t h e s w i f t . But time and chance happens t o them a l l . " PAPA ". I t ' s a grainy s u r v e i l l a n c e s h o t of Avner. Then he s t e p s back down o n t o t h e p l a t f o r m .. nor t h e b a t t l e t o t h e strong.DAY 205 The team i s on a p l a t f o r m marked AMSTEPDAM... w a i t i n g f o r t h i s . who h a s been hanging back. ROBERT We've k i l l e d n i n e men. grabs A v n e r ' s arm and s t o p s him. Robert r e a c h e s o u t and smooths t h e l a p e l on Avner's c o a t . t h e Bible? ROBERT Ecclesiastes. " AVNER I don't.As t h e f i s h e s t h a t a r e t a k e n i n an e v i l n e t . Avner nods. . LOUIS H e ' s t e l l i n g you i t ' s t i m e f o r you t o quit.s o a r e t h e sons of men s n a r e d i n an e v i l time. THE TIiAIN STATION I N PARIS . b u t n e i t h e r speaks f o r a moment. That's .. . confused. - Who can say when it f a l l s ? 205 EXT. S t e v e and Hans clim!~ on board.. And how many o t h e r s d i e d i n B e i r u t ? A l l t h i s blood comes back t o u s . Robert looks a t Avner. R o b e r t .. Avner s t a r t s t o g e t on. ROBERT (softly:) You're going t o k i l l h e r . Avner l o o k s a t Robert.

Hans and Steve cycle noiselessly down a road running parallel to a canal. Absdutely. A brief silence. checking it out as they pass. 206 EXT. misty morning. I've lost everything. That's what I knew. OK? You don't have to do this one. Robert looks at Avner. Avner. AVNER We can't afford to be that. decent anymore. THE NETHERLANDS .A HOUSEBOAT ON A CANAL IN HOORNE. terribly sad. AVNER Eventually it will work. then nods. I've lost that too.. We'll beat them. that beautiful thing. Avner. ROBERT We're Jews. Even if it takes years. ROBERT I don't know that we ever were that decent. who is looking down at the pavement. AVNER Go home and rest.206 EARLY MORNING A very quiet. . Jews don't do wrong because our enemies do wrong. Avner looks at Robert. . My. that's Jewish. Avner looks down the platform. Silence. my soul. They go past a houseboat. AVNER Oh that's. But we're supposed to be righteous. Avner. And I think I've lost that. That's what I was taught. Robert starts to say something. up into the train. that's -- ROBERT That's everything. Suffering thousands of years of hatred doesn't make you decent.

Bullet holes in her chest. . exposing her breasts. IN THE HOUSEBOAT . 207 INT. Blood is leaking from her eyes. please don't. MORNING 209 Jeanetteasbody is sprawled in a chair. two shots. JEANETTE Well. ears and mouth. They take bicycle pumps clipped to heir bike frames and quietly the road. lay them in the grass across the road. IN TEE HOUSEBOAT . Hans enters and fires another bullet in her head. stomach. wearing an old housecoat. A haze of smoke hovers near the ceiling of the room.EARLY MORNING 208 In the windows of the houseboat. They raise their zipguns. and who are you? Avner enters AVNER You know why we're here? JEANETTE I want to get dressed. They fire. She lowers her robe. two flashes. 209 INT. 208 EXT. OUTSIDE TKE HOUSEBOAT -. it's such a fucking waste of talent. her housecoat open.JEANETTE Please don't. She starts to reach in a drawer nearby. Jeanette puts down her cigarette. Her eyes are open. then one more flash and shot. . They stop their bikes. and forehead. EARLY MORNING 207 Jeanette is having coffee and a cigarette. Steve enters. carefully. JEANETTE Maybe you want to hire me? You know how good I am.

FRANKFURT Z l O B EAFLY EVENING I t ' s r a i n i n g . b r e a d . It mews. g l a n c i n g a b o u t . checking o u t everyone who comes n e a r him. He's c a r r y i n g a two bags f u l l o f food. One has been r e t i r e d . Avner. Avner moves t o c l o s e up t h e housedress. Hans and S t e v e a r e p e r f e c t l y s t i l l . burdened w i t h sodden g r o c e r i e s . H e ' s t r y i n g t o l o o k normal. 210C EXT. unconscious panicked paranoid.NEAR THE DUCKPOND I N THE OSTPARK. hollow. Hans's voice: . a r e a t l a r g e . w e h e a r Hans's v o i c e : ms (V.) I n seven months we've k i l l e d s i x of t h e e l e v e n names. i n c l u d i n g A l i Hassan Salameh. b u t h i s eyes d a r t t h i s way and t h a t . wrapping a huge c a r p i n paper. We've k i l l e d one replacement. OUTSIDE THE HOUSEBOAT -. and f o u r . KANS Leave i t . v e g e t a b l e s . f a t i g u e d . Hans and Avner emerge from t h e houseboat and. He walks f a s t . a f r a i d of being followed o r a t t a c k e d . 210A OMITTED 2IOA 210B EXT. g e t t i n g h e a v i e r . mount and c y c l e away. 21 0 EXT. t a k i n g a s h o r t c u t t h r o u g h t h e p a r k on h i s way home.EARLY21OC EVENING Avner i s walking through t h e r a i n . l o o k i n g around. t u r n i n g once t o look behind. Again. A f a t housecat comes o u t of h i d i n g . and c o l d . q u i c k l y go t o t h e i r b i k e s . One of our own has f a l l e n . FRANKFURT .O. One of o u r t a r g e t s i s i n p r i s o n . w a i t i n g f o r t h e fishmonger who i s s t a n d i n g behind t r a y s of f i s h on i c e . A s Avner w a i t s . Avner. g i v i n g away w h a t ' s becoming a h a b i t u a l . meat.EARLY M O W I N G S t e v e . i s mechanically shopping f o r d i n n e r . l i g h t l y b u t s t e a d i l y . i n a d e q u a t e l y d r e s s e d and soaking w e t from t h e r a i n . A FISH STALL AT AN OPEN-AIR FOOD MARKET.

care. and a mess: a pot of soup. he stops. and hurries away. who jumps back. spins on the man. HANS (V. a near-empty bottle of vodka in front of him. He's drinking. skill. but he's not working on them. killed 130 passengers in Athens and wounded scores more. Avner's barely-suppressed panic breaks loose. Breathing hard. looking at Avner like he's nuts.O. Avner and Steve eat. and killed our military attache in Washington. and heaps of choppea-up spices. 210D INT. FRANKFURT . working with a strange blind intensity. Who replaced Hussein al-Chir.Avner's set the table for five -.EVENING It's pouring rain outside. lightning. eggshells. HANS (V. There are two empty places -. Hans has a jumbled pile of receipts before him.O. A man turns on to the path behind Avner and accidentally bumps into him. garni. thunder. Avner startles. feeling alone. pickles. trying to collect himself. 210E INT. THE SAFE HOUSE IN FRANKFURT . almost violent. Steve and Hans are seated at the table.EAFGY ElJlXKEG Avner is scaling. Steve watches them both. sags. but also with precision. nor is he eating. Avner's downcast and focusing on the food. . hijacked three planes. The kitchen's crammed with food. braised vegetables. shivering. a pair of berry tarts. flour. Black September's original leadership has been decimated.) Since we began: the other side has sent letter bombs to eleven embassies. soaking wet. It looks like he's cooking for twenty.) Some of this was done by a Venezuelan called Carlos the Jackal. Avner. filleting the carp. curried potatoes. peelings.and a ridiculous amount of food. But new leaders are emerging for whom Black September wasn't violent enough. who replaced Zaid Muchassi. salad. THE KITCHEN OF THE SAFE HOUSE. herbs. gutting. a roast chicken.

AVner starts to eat again. looking at the heaps of food: ) You. HANS Two million dollars. sits. Mrs. . Avner nods. starts to eat again and stops. uh. HANS (to Avner:) If all eleven were dead. we must have spent something close to two million dollars. But killing Palestinians isn't exactly cheap. No one is eating. What about their replacements? What if each time we kill we create six more? AVNER Then maybe I would have to keep killing them. At least. Meir says to the Knesset that the world must see that killing Jews will be from now on an expensive proposition. HANS You're lying. Right? STEVE (to Avner. HANS And to dispatch our six dispatched targets. you'd stop? AVNER Yes. clears the two empty places. not looking up. you've been cooking. STEVE (pointing to the empty places :) Were you expecting company? Avner stands. eating. Avner returns to his place. HANS Forever? Hans finishes off his glass and pours another. Hans pours another drink.

I'll get up in the morning. STEVE There's enough here to feed Bangladesh. HANS Huh. . But. FRANKFURT .. you know. Hans drinks.. go to bed at night. personally. every day. over the. Someday. ArnR Five targets are scill alive. I suppose. he's gone somewhere.. Eventually. HANS I keep seeing the Dutch woman. Anyway. Five more men to kill. .BEF-F DAWN Steve is knocking softly but insistently on Avner's door. (to Avner:) I wish I'd let you close up her housecoat. antique shop. STEVE Well. It's not that I wish we hadn't killed her.. you weren't yourself Avner eats. Hans pulls away. Hans finishes off the glass and pours another drink. you forget you were once someone who really hated doing it. urn. 210F INT. I waited. STEVE (CONT'D) I went to Hans's flat. All night. he was so. Stop drinking and eat something. THE HALLWAY OUTSIDE THE SAFE HOUSE. just to check up. Steve reaches out to stop him. gets less.. kill. Or who cares? What I feel. He hasn't come back. Avner opens the door. sprawled out like that. And I won't feel anything at all.

Then his eyes. we. facing the pond. He's icy. tell Robert. Avner closes Hans's coat... He unbuttons Hans's shirt. STEVE He walked here every night. frozen blood crusted around it. a gun.@ 2i0G EXT. sits next to Hans's body.. Hans is sitting on a bench. THE POND IN THE OSTPARK. moves the frozen fabric aside. looking around. His face under the frozen rain and condensation is completely grey. He should know. eyes open. dead. he -- AVNER He walked here every night. AVNER (CONT' D ) They didn't take anything. The park's deserted.. Steve sits on the other side of Hans. an Austrian passport. I'm . There's a dark narrow oblong wound in his chest above his heart.. I don't know anything about him. retrieving a wallet. STEVE He's selling us. His hands are limp at his side. Steve is standing nearby... awful. STEVE Who walks in a park at niqht? Maybe he was a homo. AVNER (CONT'D) Louis will send someone. AVNER Knife . Avner searches Hans's pockets. and glittering: Some of the moisture from the night before has crystallized into hoarfrost. shivering in the cold.BEFORE DAWN 210G Bitter cold.. (MORE) . Avner. I'm going to check on. he. It crackles. Anyone could -- Steve's fighting hard not to lose control. FRANKFURT . STEVE This is . urn. gun drawn. we have to be careful.

He tries to warm them. I was. He walks to his bedroom.. putting explosives. machinery in crates for detonation outdoors in the morning- He looks at his hands.. There's light in the cottage windows. AVNER'S BEDROOM. rubbing them together. AVNER What? I. He's about to open the door to the bedroom. bomb parts and disassembled toys intermingled. listens. 210H OMITTED 210H 2101 INT. He's wearing plastic protective goggles. He puts his ear to the door. . He removes his protective goggles and rubs his eyes.NIGHT 2 1OL The cottage is a weird combination of explosives workshop and toy repair shop. gun at the ready. Avner? Avner startles out of some reverie. on one table is a huge. BELGIUM . The room is empty. STEVE (cont ' d) It's awful. 210L INT. beautifully articulated toy soldiers with working parts facing each other across a splendid. I wasn't listening. They're still trembling. no other houses around. THE SAFE HOUSE IN FRANKFURT . INSIDE THE COTTAGE . painted battlefield. when he freezes. they're trembling. coat hanging from a peg on the wall. NIGHT 2101 Avner is alone in the safe house. He's packing up the place. he opens the closet door.NIGHT 210K The cottage stands alone in a field. A few longhair sheep are rooting around for edible grasses. FRANKFURT SAFE HOUSE .. He goes to the door of the closet. elaborate war game. He looks exhausted and sad.NIGHT 210J He throws opens the door to his bedroom. BATTICE. 210J INT. 210K EXT. A SMALL STONE COTTAGE. Robert is alone. It's very dark outside.. He turns out the lights. He goes back to the front room and gets his gun from his holster. Gun ready. thinking he's heard a noise inside.

tightly he binds the tefillin around his left arm and his forehead. in its holster. NIGHT a Robert finishes the prayer. INSIDE ROBERT'S COTTAGE. Then slowly. Of course there isn't. 2lON INT. ambush and injury by the way. not able to calm down. hyperflexing his left hand. and takes out a tallis and tefillin. ROBERT (IN HEBREW) May it be thy will. He paces the floor of the bedroom. Robert's prayer is heard over the scene: ROBERT (VO IN HEBREW) . He stares at these for a moment. then searches the innards. . He stands. BATTICE . lifts the mattress again and slits it open. Again. opens it. Oh deliver us from every enemy. He hangs his gun. He covers his head with the tallis and begins to daven. then stops: he finds a pouch of very old velvet. He removes it. Oh Lord our God and God of our fathers. and to lead us in life.. near the bed. to conduct us in peace. Let us obtain grace. He takes a pocket knife out of his pocket. and from all afflictions that visit and trouble the world. joy and peace unto the haven of our desire. He carefully lifts the mattress to see if there's a bomb under it. no idea what to do with himself. No one is inside He sits on the bed. opens it. slides a chair under the doorknob.. He sits. to uphold us in peace. nothing. looking for a bomb.NIGHT Avner is holding the closet door open. FRANKFURT SAFE HOUSE . He takes toois from a wall cabinet. AVNER'S BEDROOM. holding his gun in his right. Send a blessing upon the work of our hands. lovingkindness.. . reciting the Hebrew prayer for travellers. 210M INT. to direct our steps in peace. and mercy in Thine eyes and in the eyes of all who behold us.

and delicately unscrews the bottom plate. looking for something. Then he stops himself. ROBERT (IN HEBWW) Hear the voice of our supplications. He switches off the light. He listens to his own breathing: shallow. . He gets his gun from the holster and climbs into bed.. He picks up a timer. IN THE CLOSET . his panic is building. the number is 212-62. FRANKFURT SAFE HOUSE . Without putting the plate back on. A moment's hesitation. the chair propped under the knob. He gets out of bed. checks the door. puts them away. . He picks up a toy ferris wheel and winds it. With extreme care he lifts the phone. then hangs up the phone. He tries to calm down. sets it down and watches it spin around and around. he dials 0 . He turns back to the wires and bottles and bricks of plastic explosives. He looks at the closet. 2100 INT. AVNER'S BEDROOM.NIGHT 2100 Avner is undressing. who hears all prayers.NIGHT 210Q Robert has resumed packing. He reaches for the phone. cradling the gun. staring into darkness. leaning against an ironing board. the door ajar. He stops. He fishes for a swiss army knife and opens the screwdriver. 210Q INT* INSIDE THE COTTAGE . He lies still. turns it over. He listens through the door. leaving a crack for air and sound. LATE NIGHT 210P Avner curls up on the floor of the closet. He pulls the guts out of the phone. He looks at the bed but doesn't go towards it. It's a normal phone. Blessed art Thou. then he steps inside the closet and closes the door almost completely. a bug or a bomb. oh Lord. panicked. takes off the tefillin. Robert folds up the tallis. For Thou art a God who hears prayers and supplications. 210P INT. He sits on the bed. AVNER I want to place a collect call to Brooklyn New York.

.MORNING 210s Avner's asleep. AVNER It will be beautiful.NIGHT Avner is standing in front of the display. The phone in the bedroom is ringing. He's in a compound guarded by all the predictable trouble. which has been changed -. not knowing where he is. The ferris wheel slows dowr. Robert seems to be standing right behind Avner. then reaches past Avner to wipe away the handprint that Avner's left on the plate glass window. He picks it up. smiling gently. Louis takes a handkerchief out of his pocket. either moving his lips or it's just a question in his eyes. . Then he turns Louis is standing there. He's asking Avner something. Avner stares at Louis. LOUIS Ali Hassan Salameh is in Tarifa. walking-towards him. 210T INT. he sees Robert. 21OR EXT. He tries to stand and rams his head on the clothes pole above him. 2105 INT. THE SMALL STONE COTTAGE . then stops. IN THE CLOSET . They make eye contact through the reflection. THE PICTURE GLASS WINDOW OF A KITCHEN DESIGN AND SUIEUW STORE ON A FANCY STREET IN PARIS . reflected in the glass. AVNER What? 210V EXT.NIGHT An enormous explosion blows the cottage apart.MORNING 210T Avner stumbles out of the closet. Behind him. FRANKFURT .a new but still beautiful modern kitchen. freeing himself from the debris. hard. He wakes up with a jolt. on the Spanish coast. He lunges for the phone. Hangers rain down and the ironing board falls over. THE SAFE HOUSE. Eventually Avner places his hand over Robert's face.

s t a r i n g a L o u i s a s i f n o t s e e i n g him. Many p e o p l e must want t o k i l l you. Louis. s e v e r a l of t h e windows of which a r e lit. i n t h e deep shadow of a garden w a l l . A beat. E l i m i n a t e him and t h e y ' l l l e t you go home. SPAIN . both know t h a t t h i s i s t h e end of t h e i r b u s i n e s s t o g e t h e r . But why would I do t h a t ? You pay b e t t e r t h a n anyone. But he planned t h e Munich massacre.EARLIER THAT NIGHT Avner and S t e v e . LOUIS (CONT'D) I t ' s dangerous. Don't you t h i n k ? They l o o k a t one a n o t h e r . Home always does. n o t f r i e n d l y . i n b l a c k c l o t h i n g . Avner d o e s n ' t respond. I do. you s h o t a KGB a g e n t . Monsieur S t o r s c h . Avner h a v i n g acknowledged h i s a f f i l i a t i o n . towards a g r e a t h o u s e . ( shrugs) I n Athens. S l u n g a c r o s s t h e i r backs. going a f t e r Salameh. THE TERRACE OF A GFG3AT MANSION ON THE COAST NEAR TARPEPP. a r e crawling through t h e trimmed g r a s s of a lawn. S t e v e and Avner c a r r y high-powered r i f l e s . LOUIS You c o u l d have a k i t c h e n l i k e t h i s someday. . b u t . AVNER Y e s . f a c e s grimed f o r camouflage. I t c o s t s d e a r l y . 211-223 OMITTED 211-223 224 OMITTED 224 225-233 OMITTED 225-233 234 EXT. LOUIS Bomb makers o f t e n d i e a c c i d e n t a l deaths. They s m i l e a t one a n o t h e r .

bevelled. NIGHT The house in nearer. are moving large wooden boxes around. A row of big crystal chandeliers down the length of the room add myriad prismatic lights to the confusion. catching and losing reflections. He hands the binoculars to Avner. Suddenly he sees someone. A W R That's him. He's in there. The room within is panelled with mkrors. perhaps as many as twenty.set at odd angles. 234A CUT BACK T&34A Avner and Steve in the dark outside.e 234A EXT. wavy. Steve's looking through night vision binoculars at large glass doors through which a vast library can be seen. looks through the binoculars at the large glass doors of the room next to the library. It's like a fucking fun house. only for an instant. smoke and amber. the lights and the mirrors. Egyptian music can be heard. Then he's gone. STEVE Can you tell how many? 235 IN THE BINOCULARS: 235 Avner's moving the binoculars methodically back and forth. lying beside him. THE: LAWN OF TKE MANSION -. who might be Salameh. thick. and mirrored doors that swing open and close. scanning the faces in the library. A number of Arab men. 235 IN THE BINOCULARS: 235 The panels of glass in the exterior doors of the room are clear. They're rendered cubist fragments by the distortions of the glass. Avner looks. . Still lying flat in the grass. Avner stops. STEVE Shit. 234A CUT BACK T&34A Steve and Avner.

smoking a cigarette. Arabic conversation from the house. Steve is already on his feet. CUT BACK TOP36 STEVE Too many men. Salameh suddenly stops talking. A man is standing with his back to them. Avner close behind him. staring hard at something -. then another. as if seeking out and then locking directly with Avner's gaze. The peeing man is finished. rear view. then another. The sounds of the night intensify. He starts to fumble for his kalashnikov. He has a kalashnikov slung across his back. full face. out into the dark. fourteen or fifteen years old. and all at once the face in the binoculars is repeated. He's talking to someone. standing near a series of mirrored doors. crickets. taking aim. The boy sees Avner and Steve. taking a leak. takes a deep drag on his cigarette -. He taps Steve. They go completely flat and roll deeper into the shadows. . Steve mouths a silent "shit" then starts to inch towards the binoculars. They hear a sound of someone walking on gravel coming from the garden behind them. We're gonna get killed. It's definitely Salameh. bringing Salameh nearer. Steve's elbow snaps something dry in the grass. The man wheels around.it seems to be Avner -.with a strange expression: familiarity. He immediately zooms in on the back of the head of a man.and then he seems to look straight out the french doors of the library.235 IN THE BINOCULARS: Avner focuses the binoculars on the library again. over and over. It's a teenage boy. The man turns. One of the mirrored doors behind Salameh opens. They unsling their rifles and release the safeties. Avner sees the binoculars in the verge of the terrace. Avner's focusing the glasses. Avner leaves the binoculars on the grass. the music. out through their panes of distorting colored glass. taunting. he's zipping up his fly. the distant surf and Avner's own breathing. and points. profile. hatred.

is waitinq. AVNER GO ! Both men run at the two halves and crash m t o them. Someone in the dining room flings the door opens and calls out something in Arabic. terror. DAY 250 Passengers are descending from an El A1 plane. making his head explode. from wlthm the compound grow closer. Noises of pursuit. They keep running. stunned. Avner runs. 250 EXT. . one bullet knocking the kid off his feet. He runs through the grass. cutting his face. It is no longer clear where he is. Steve starts to run back towards the shore. shoutmg. He throws his rifle away into the grass and runs. THE RUNWAY AT LOD AIRPORT. Sr-eve fires. and Steve follows. Avner approaches. Steve hauls him to his feet and they resume their run to the gate. Avner is among them. He plunges into the grass field. and Avner and Steve run pell-mell down the drlve. as we'd seen him at the start of the sequence: face blacked. The camera closes in on Avner's eyes. No one is pursuing. spins him around and drags him in the opposite direction. He sits there. His speed accelerates. the other hitting him in the eye. His body topples back into the bushes. edging back into the shadows. Avner and Steve run down the road at top speed. There's a burst of gunf~renearby. Two vounq soidiers are sitting on the hood. no roof. TEL AVIV . then Avner. Avner and Steve hear shouts coming from inside the house. Avner fires at the center of the locked gate while Steve turns and fires several rounds into the blackness behind them. They crouch. Avner catches his a-m. runnlng. Suddenly there's a burst of machine-gun fire. The gates burst open. sweat. Avner runs in this direction. sending stone and gravel and dirt flying. A military jeep. stumbles. lobking like he expects to be arrested. bloody cut. He runs till the world falls away. As they approach the main gates Avner trips.

THE SOLDIER I'm Yehuda. microphone. . and starts assembling it. AVNER I'm -- ONE OF THE SOLDIERS We know. this is Avi. because we're not officers. ROOM 27-5-H. one of the soldiers turns to him. DAY 252A The same room in which Avner first signed for the mission. Avner. and we want to say it's an honor to meet you. thinking. Ephraim comes in. A man in civilian clothes walks in. is stunned. waiting. As they get in the jeep. Yehuda turns back and starts the jeep. Avner watches this. whistling through his teeth. and loops of cable. though he's not showing much. MOSSAD HEADQUARTERS. carrying a large tape recorder. TEL AVIV . the two soldier in front. Avner is seated. a 251 OMIT 25lA OMITTED 252 OMIT 252 252A INT. He smiles at Avner. Nothing has changed. puts the equipment on the desk. EPHRAIN I have no problems with anything you guys did except the woman on the houseboat in Hoorn. We're not supposed to know who you are. we're just shit and no one tell us shit. You want to ride with us? THE OTHER SOLDIER Hop in. Avner in back. but we've heard about what you've done. Shin Beit. When the man is done he leaves with a friendly nod to Avner.

They helped kill your men.they sold the terrorists information regarding your whereabouts. EPHRAIM Tell us who they are. AVNER We took leaves of absence and killed her off the company clock. Ephraim nods EPHRAIM According to your colleague. Best guy he evzx worked for and so on. EPIiRAIM ( CONT ' D) Steve's told us about her. not m any way your fault. AVNER They won't work with you. . He srngs your prases. That's it. Steve's not bad either. AVNER Bullshit. EPHRAlM He says this French group -. I can't It's about loyalty. I should say emphatically according to your colleague. Avner doesn't respond.Avner is surprised. That's your only loyalty. EPHRAIM Don't be an idiot.Louis? Was his name? -. Otherwise as I said we have no problems with the job you did. EPHRAIM You're an Israeli officer. AVNER Except three of my men died. AVNER Huh.

( t o Avner:) Go ahead. 1 9 7 3 . GENERAL HOFI T h a t ' s it. H e t u r n s it on EPHFAIM ( i n t o t h e mic:) Testing. right? Avner nods. H e s t o p s a t t h e door and l o o k s back a t . two a i d e s b e h i n d him.. T h e r e ' s n o medal o r anything. GENERAL HOFI L i s t e n . She s a y s y o u ' v e done a g r e a t t h i n g f o r your p e o p l e . b u t s h e c a n ' t . EPHRAIM (CONT'D) OK. . Ephraim s i t s down a t t h e t a p e r e c o r d e r . t e s t i n g . Then he t u r n s t o go. pushes p l a y . She wishes s h e could t e l l you h e r s e l f . For I s r a e l . EPHRAIM ( CONT ' D ) T h i s i s General Hofi of t h e Northern Command. so -- The door o p e n s . Avner Kauf fman . Interview.. She n e v e r h e a r d o f you.A v n e r . t e s t i n g . H o f i embraces Avner. t h e Prime M i n i s t e r i s proud of you and your men. He rewinds. k i s s i n g b o t h cheeks. " Then he s w i t c h e s t h e machine back t o r e c o r d . G e n e r a l Y i t z h a k Hofi e n t e r s . t h e n l e a v e s . one of t h e a i d e s c l o s e s t h e d o o r . AVNER What? EPHRAIM T e l l me what you l e a r n e d . Avner s t a n d s . He l a u g h s p l e a s a n t l y . L i s t e n s t o himself s a y i n g " t e s t i n g . GENERAL HOFI (CONT'D) Good. EPHRAIM (CONT'D) June 1 6 .

remembering. AVNER You're divorced. Ephraim watches. A weight descends on him. EPHRAIM Oh for godsake. sadness. not at Ephraim. not answering. EPHRAIM I can have you court-martialed. impatient. Tell me the names and numbers of your sources. very modest apartment. INT. What did you learn? Avner stares ahead. . Avner looks at the only two pictures on the wall: a photo of his father. And I might. AVNER'S MOTHER'S APARTMENT. Both men are in uniform. He looks terrible. TEL AVIV . It's a small. AVNER What I learned? EPHIiAIM Yes. and a photo of Avner. I don't work for you. (meaning it:) I don't exist. 253 OMITTED 253 253s. Did you visit him? Avner looks away.DAY 253A She lives alone. She's serving Avner tea. Avner shakes his head "no." AVNER You can't. Why do you keep his picture on the wall? AVNER'S MOTHER Don't be ridiculous. AVNER'S MOTHER Yon look terrible. Avner looks down. Avner won't look at her.

AVNER'S MOTHER You knew. Avner. . you did for us. Right? The rest of it .. I never prayed before. AVNER I'm alive. AVNER I never said you were a -- AVNER'S MOTHER Some bonds you can't break.. I walked to the top of a hill in Jerusalem and I prayed for a child. (a gesture as if something vanished in the air) Pffft! I never talked to you about it. AVNER I knew. And I could feel all of them were praying with me. You are who you belong to. It's taken a lot from you.. AVNER'S MOTHER You're what we prayed for. What you did. AVNER'S MOTHER Everyone in Europe died. She looks at him sadly. Most of my family. (MORE) . and I don't want to see him.. I'm not good right now. with ferocious love. but I prayed then. AVNER'S MOTHER I'm not a fool. Ever. So what was there to say? I didn't die because I came here.~ They sit. AVNER'S MOTHER I don't need you to tell me anything. AVNER I'm. not looking at one another. She nods her head. When I arrived. . sorts itself out.

You're too thin. Listen. forget it. (MORE) . Ephraim takes the box. We have a place on earth. whatever it takes. Subject to no one. EPHRAIM What is it? AVNER Baklava. Ephraim looks angry. I thank God for hearing my prayer. AVNER'S MOTHER What's there to say? Whatever it took. EPHRAIM (with disdain:) From Rehovot? The only edible baklava is from the Arabs in Jaffa. finally. He hands it back to Avner. Avner takes a small white cardboard box from his knapsack and holds it out to Ephraim. examines the bakery's sticker affixed to the top. Avner looks at her. AVNER Do you want me to tell you.) What we've had to take because no one will ever give us. (she gestures to the space around her.EARLY MORNING 254 Ephraim is dropping Avner off. 254 EXT.IN FRONT OF LOD AIRPORT . A place on earth. At last. Every one of the ones who died -- died wanting this. mama? Do you want to know what I did? They look at each other for a beat. AVNER'S MOTHER (cont'd) For your daughrer but also for us. A place to be a Jew among Jews. (angry) I hope it gives you bellyache. Ephraim doesn't take it. EPHRAIM (CONT'D) Eat it on the plane.

EPHRAIM OK. AVNER I won't. 30 or more kids. The kids are all in colored t-shirts that say. They surround Avner as they exit. talking loudly and excitedly in Arabic. EPHRAIM (CONT'D) You go see your wife. pourmg out of the airport. Avner turns briefly to look at the kids. We're going to put you back in the field. Ephraim has gone. in Arabic script. No. Ephraim watches him go.returning from a field trip visit to the airport. rest for a few more months. EPHRAIM (CONT'D) Not Europe. 254 OMITTED 254 255 OMITTED 255 256 OMITTED 256 * 256A 256 OMITTED OMITTED 256A . Avner doesn't respond. one in a head scarf and traditional dress. momentarily slowing his progress inside. Probably Latin America. Everyone's talking loudly. their teachers. boys and girls ranging in age from ten to thirteen. he runs into a large crowd of Palestinian children. EPHRAIM You'll think it over. then you'll come back and -- Avner picks up his suitcase. "Kashefat Madressat Yaffa" with the same script and the Arabic letter "aleph" on armband on the left sleeve -- they're in a kind of summer camp program . your child. heads for the plane. The kids are chaperoned by three young women. As Avner enters the airport. two in modern dress. A W R NO.

. completely shocked. Yes.. She sways a little. up and down. laughs a little:) I have no idea where I should be. shy. THE BROOKLYN APARTTENT . The cut in his cheek is still vivid. on the sidewalk. (shakes his head. DAPWNA Come back to bed. DAPHNA Nightmares? AVNER Yes. Geula is sitting on Daphna's lap.LATE NIGHT 238 Daphna comes out of the bedroom.DAY 237 Chilly very early spring. looking out at the street. looking for Avner. stands up. BROOKLYN . Charlie sits nearby. chewing on a stuffed animal. Daphna sees that Avner's jannned a chair under the doorknob. deadly exhausted.257 OMITTED 258 OMITTED 258 237 EXT. He's sitting on the window seat. he looks lost. carrying a suitcase. . He's disheveled. vigilant. confused. uncertain. You've made it. Avner's standing there. chatting with an old Italian lady who's leaning out of her first story window. ON CLINTON STREET. Daphna is on the stoop. She goes into the living room. scared. 238 INT. (He looks around the room: ) It's a nice place. Daphna sees him. nice. suddenly frightened to be here. He's frozen. He turns and looks at her. CARROLL GmDENS. Geula starts crying. looking at her.

healthier His face in repose is still very. . He's dressed in paint-spattered. plastes- spattered work clothes. She hasn't seen that Avner is holding his gun.O.DAY 263 Avner is at a payphone. 249 OMITTED 260 OMITTED 260 261 OMITTED 261 262 OMITTED 262 263 EXT. There's a man inside who might be looking back at Avner. He looks heavier. A PAYPHONE NEAR AVNER'S COBBLE HILL JOBSITE . very green. She goes back to the bedroom. 259 EXT. dressed in his dusty construction clothes. something bothers him and he looks back. kids playing in open hydrants. but years have lifted off it. CLINTON STREET -259 LATE AFTERNOON It's full summer. blast furnace heat. The car pulls out and drives off down Clinton street. very humid. very sad. AVNER (CONT'D) Is Louis there? SYLVIE (V. He watches her go in. When he's gone several feet past the car.. hyperflexinq. There's no license plate. His left hand is clenching. IN FRONT OF THE BROOKLYN =ARTMENT. ) No. coming off a job in small construction. Someone's in the car but he doesn't notice it. however. Silence. then he turns back to his vigil.. Avner is walking to his house. AVNER Sylvie? I want to talk to your father. he . He passes a car in a row of cars parked on the street.

phone propped against a shoulder. A W R I want to talk to your father He reads from the phone dial. with concern. THE FARMHOUSE.DAY 264 Almost an hour later. Avner is waiting. THE PAYPHONE NEAR THE COBBLE HILL JOBSITE . 1'11 wait. THE PAYPHONE NEAR THE COBBLE HILL JOBSITE .NIGHT 265 Papa is pitting prunes. THE FARMHOUSE. alone. How's my family? Are they well? Are they going to be OK? 267 INT. the kind you can't get in America -. PAPA How is your father? He's well? Your family is well? 266 EXT. AVNER I don't know. Do you believe me? . It's a pleasure to hear your voice again. Real cheese. AVNER Am I being hunted? Is my family being hunted? 265 INT. AVNER ( CONT ' D ) 212-624-7880. I think about you.it isn ' t "pasteurized. The phone rings. THE FRENCH ALPS . I'll wait.DAY 266 Avner is silent." so it doesn ' t taste like shit. 264 EXT. NIGHT PAPA I'm sending you a parcel of sausage and cheese. THE FRENCH ALPS . He must call.

PAPA (V. He leaves the phone booth." reaching a hard decision. 270 INT.268 EXT. you know who I am. 269 EXT. MANHATTAN . Or wives if you hurt my wife.) Avner ? You believe me. Avner enters abruptly without knocking.DAY The deputy consul. Or fathers if you hurt my father. enters the consulate. AVNER You know my name. it's important. No harm will come to you from me. AVNER If you're Mossad. tell Ephraim that Avner came to see you. AVNER Tell Ephraim I won't hesitate to kill other people's chiidren if my child is hurt. DAY Avner is silent. Avner. THE ISRAELI CONSULA~WP MANHATTAN . slams the door and wheels on the frightened deputy consul who sits down again. Avner.) Of course I do. still dressed in his construction clothes. (MORE . is sitting behind his desk. A secretary tries to come in the office. Avner puts the receiver back in place. If you don't.DAY Establishing shot. PAYPHONE NEAR THE COBBLE HIT& JOBSITE . a young Israeli. Papa hangs up. THE OFFICE OF THE DEPUTY CONSUL. Listen to me. "no. Slowly he shakes his head. I will never lie to you. THE ISRAELI CONSULATE. Avner shoves her out.O.O. PAPA (V. he doesn't know what to say. Avner? Avner is startled. The deputy consul rises.

Issa and Tony move with great caution. 2391111 INT. He's crying silently. crouching. gently. BROOKLYN . becomes sexual. BROOKLYN . . away from the helicopter and towards the jet. AVNER AND DAPUNArS BEDROOM. and Issa. They stop. 239A EXT. An 727 jet stands ready. He lies there. holding him. He gets into bed. a loud burst of noise. THE AIR OVER FURSTENFELDBRUCK AIRPORT . Tony and Isaa approach the jet.LATE NIGHT 239 Daphna is asleep. NIGHT 239A A confused fragment of helicopter blades. The helicopters are landing on the tarmac of the airport. Who was at every meeting. AVNER AND DAPHNA'S BEDROOM. rifles ready. They start to make love. looks at him. The door of one of the helicopters (D- HAQU) opens. Samir. Daphna wakes up. Kader and Salah emerge. staring into the dark. frozen for a moment. tail-lights. consoling. They grab Avner. The helicopters land. who doesn't resist. she reaches over to him. She draws him back into it. The door behind Avner is forced open by armed embassy guards. They can see that the plane is dark and there's no one in the pilot's cabin. They suspect a trick.NIGHT 2391111 Avner stops making love to his wife. Every bloody name. touches his face. She moves over to him. he turns away from her. uncertainly. Apart from a few spotlights. tell Ephraim. They begin to shout at their comrades back at the helicopters. If anyone bothers us aqain . The kiss is returned. ostensibly to take the fedayeen and their hostages to Cairo. AVNER (cont'd) Word for word. Tony and Abu-Halah emerge from the second helicopter (D- HAQO). I'll give everything to the newspapers. then building in intensity and passion. Issa and Tony turn back toward the helicopter. the airport and the runway are dark. 239 INT. Avner comes in. She kisses him tenderly.

he's trying to hurt her. pulls the pin of a grenade and throws it inside. Badran and Samir return fire. starts to cry. BROOKLYN . armored cars are slowly making their way towards the helicopters on the runway. There's shouting and screaming. Daphna is crying. AVNER AND DAPHNA'S BEDROOM. Flood lights atop the building and all around the field burst on. Paulo. The baby. Halfin and Springer. Soldiers begin firing as well. 244 INT. in a crib nearby. NIGHT (TOKOL 244 AIRFIELD ) The helicopter is bursting into flames. 243 INT. She's crying and scared but not stopping him. BROOKLYN . furiously. The fedayeen and the snipers are still firing. his face is contorted with hate.LATE NIGHT 243 Avner is still on top of Daphna. Kader is spraying the other helicopter (D-HAQU) with machine gun fire. Behind the armored cars are many soldiers and policemen. Then from the runway's periphery. FURSTENFELDBRUCK AIRPORT RUNWAY .he's trying to block out images inside his head. Issa then leaps from the helicopter. It explodes. Bullets are being fired in all directions. but something changes. . Issa climbs into helicopter (D-HAQO) and sprays machine gun fire into Friedman. His eyes are screwed shut. LATE NIGHT 241 Avner and Daphna continue to make love. ABOARD A HELICOPTER ON THE RUNWAY . lighting up the runway. 241 INT. Abu-Halah and Salah are gunned down jlmnediately. Issa runs hiding behind a heiicopter (0-HAQO). he's growling. angry. The captive men inside are engulfed in flame. strangely concentrated -. fucking her. AVNER AND DAPHNA'S BEDROOM. Sniper fire hits Tony in the leg. He starts fucking her. 242 EXT.NIGHT (TOKOL AIRFI-) Amidst the firefight. hidden snipers start firing. killing them and injuring Berger in the leg. Avner grows silent. His lovemaking becomes rough.

They both lie. He sits up. waving Charlie away. ripping them apart -- carnage.O. facing away from her. 27 1 OMITTED 271 272 EXT.) Phone for you! He ' s Israeli. The cut . violently. holding herself. THE BACKYARD OF DAPHNA'S AND AVNER'S APARTMENT BUILD-. He's still thin.DAY It's summer now. 246 OMITTED 246 247 INT. smoke hanging over everything. bodies on the ground.A PARK ON THE BROOKLYN WATERFRONT . He reaches back to touch her.NIGHT 245 ( TOKOL AIRFIELD) Kader's machine gun spray is ripping the cabin apart.0 245 INT. striking the bodies of the helpless athletes (Guttfreund. There's an abandoned jungle gym at one end of the park. the dark plane. men emerging from the shadows on the periphery into the floodlit devastation. still exhausted. Daphna calls from their rear window: DAPHNA (V. WIDE SHOT OF AFTERMATH: The two helicopters in flames. frowning. EPHRAIM You think we'd hurt your family? . Avner is piling a wheelbarrow with all sorts of junk.DAY 272 EphraiYn and Avner are walking past an overgrown park on the Brooklyn waterfront. ABOARD THE SECOND HELICOPTER ON TEE RUNWAY . Spitzer and Shapira). BROOKLYN . panting. terrified. Schorr. BROOKLYN . the weed growth is rampant. AVNER AND DAPHNA'S BEDROOM. LATE NIGHT 247 Daphna pushes Avner off her. She flinches away. Slavin.on his cheek is now healed. 248 EXT. the sirens flashing but everything completely silent.

You want to discuss. enlisting sympathetic non- Arab fanatics eager to destroy the international Zionist conspiracy. EPHRAIM And Zwaiter. he worked on another bomb last August. AVNER According to evidence no one has seen. You want your daughter to grow up in exile? AVNER I want evidence. AVNER I want you to give me proof that every man we killed had a hand in Munich. he was recruiting for Fatah France. EPKI?AIM I think you're losing your mind. Ephraim looks out over the East River. You stopped him. come back to existence. I can go with this. AVNER Did I commit murder? They stop walking. AVNER We should have tried to bring him to Israel. AVNER I think anyone is capable of anything. EPHRAIM I don't discuss such things with people who don't exist. EPHRAIM Professor Hamshari with the beautiful wife and child? He was implicated in a failed assassination attempt on Ben Gurion. (MORE) . your harmless little writer in Rome? He was behind the bomb on El A1 flight 76 in 1968.

Israelis die. like Eichmann. you know this is true. We'll find you. EPHRAIM ~f these guys live. but you're unhappy. Whatever doubts you have. You think you were the only team? It's a big operation. If you killed them. EPHRAIM We'll get him. AVNER I killed seven men. (beat) you did well. Does that assuage your guilt? AVNER I don't even know anymore what I want from you. We are telling them: if you kill us you will never be safe. which we have not. EPHRAIM You killed them for the sake of a country you now choose to abandon. If I know you. That you were born into. if we have met before. EPHRAIM Not salameh. For the future. Did we accomplish anything at all? Every man we killed has been replaced by worse. AVNER Did we kill them to destroy the terrorist leadership or the Palestinian leadership? Tell me what we've done. AVNER Fuck you. You killed them for Munich. EPHRAIM Why cut my fingernails they'll grow back. AVNER (cont'd) If they committed crimes we should have arrested them. The country your mother and father built. (MORE . You were only a part. of course. For peace. Avner.

with Israel. EPHRAIM Here's what I know: Your father's sick. Ephraim looks down. . INCLUDING ALI HASSAN SALAMEH IN 1979. AVNER There's no peace at the end of this. Ephraim doesn't respond. AVNER NO. or any connection with anyone anywhere. What I came to say is this. Whatever you believe. Avner watches him go END TITLES OVER IMAGE: ULTIMATELY. and you have no context. I'm unhappy just looking at you. NINE OF THE ELEVEN PALESTINIAN MEN TARGETED FOR ASSASSINATION WERE KILLED. Avner Kauffman. EPHRAIM NO. anywhere on earth. Ephraim walks away. which you have. No wonder you're unhappy. AVNER Come to my house for dinner tonight. A beat. AVNER (CONT'D) Come on. you know that's true. EPHRAIM (cont'd) If you signed a paper. You're a sabra. You're a Jew. Come home. sad. I'm supposed to ask you to break bread. It's written someplace or other. Silence. Ephraim shakes his head. then nods. Your mother will be alone. saying you have no connection with us. Break bread with me Ephraim. You're a stranger. your wife and daughter are sabras.

END OF FILM .