License to Kill - Dialogues with a Capo (Screenplay by Itzik Sivosh)

Updated 22 November 2010

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License to Kill – Dialogues with a Capo
Psychological Drama (Screenplay Draft)
 
                      
Written by: Itzik (Yitzhak) Sivosh M.Sc., MBA
Tel-Aviv;
September 2010
sivosh@hotmail.com;
972-50-8539502





English Translation: Y. Sivosh     
English Editing: M. Fishburn, Leslie Henan, Advocate, both of whom I wish to thank

Part One
Opening Credits inspired by "Anatomy of a Murder" graphics (Film by Otto Preminger),
based on Holocaust Paintings by S. Schwartz, shown at the link 
http://www.bukowina.org.il/152512/%D7%98%D7%A8%D7%A0%D7%A1%D7%A0%D7%99%D7%A1%D7%98%D7%A8%D7%99%D7%94-%D7%91%D7%A6%D7%99%D7%95%D7%A8%D7%99-%D7%A9%D7%9C%D7%9E%D7%94-%D7%A9%D7%95%D7%95%D7%A8%D7%A5


http://www.youtube.com/watch?v=MQP4Z-DEOkk&feature=related
Cut To Caption:

The concept (to become later known by the term "The Concept" coined by the official national inquiry Agranat Commission) spread among top Israeli Security decision makers, of the 'very low probability of war' and the lack of capacity on behalf of Egyptian Army to cross the Canal. This yields a 'no Reserves mobilization' decision to address the amphibious "maneuver" to cross the Suez, well known to involve the whole Egyptian Army. Israel did not reinforce its two armored brigades deployed in Sinai, and the surprise attack had ideal conditions.  While the Reserves are gradually mobilized and urgently deployed fragment by fragment, and still short of essential equipment, the overwhelmed regular forces’   attempts to stop the invasion prove futile and undergo a fast attrition. Most IDF posts along the Canal, undermanned by older soldiers, are either falling or besieged. While the attempts on the first night to break-through into these surrounded posts to evacuate the wounded and refresh supplies and ammunition were possible, on the following nights lethal ambushes are deployed by the enemy, overwhelming IDF tanks with barrages of Soviet anti-tank missiles.


http://www.youtube.com/watch?v=xi4IIe30IyA&feature=related


Scene 1: Ext.
Dawn at the Suez Canal. After a deadly battle (Captain )Jacques's company is annihilated.
The camera is showing smoking remains of tanks and dead bodies spreading along the area.
 Music: Paint it Black – Rolling Stones (3:45)


http://www.youtube.com/watch?v=8BhHTA6Gzn0

(louder as the camera is getting closer to Jacques's M-113 armored vehicle)



Int.
From time to time, a light mortar shell lights up the sky, illuminating the blown-up  interior of a Command M-113(equipped with extra communications antenna)   and showing corpses scattered around. 
Company commander Jacques lies wounded, half conscious, his hand is going to the military radio and switching its frequencies knob forcefully to its limit.
The music stops at once, and commands are heard on the communications network.
Occasionally, through the blurred view, Jacques manages to identify a handsome face looking from above at him, to be identified as Platoon Commander and personal friend, Marcel, his face abnormally calm and peaceful.
Company Commander Jacques (mumbling):
 'Marcel. Marcel.'
After some attempts to call Marcel, whose face is frozen, he realizes in a moment of consciousness that the head is decapitated, while Marcel's body is lying among others near him, only to lose consciousness again.

Scene 2: Int.
First encounter between Jacques, the wounded officer, and the Capo (wearing Concentration Camp uniform). French is spoken by both: a simple language with good accent by Company Commander. Jacques, while Capo Fruchtenbaum is using a more sophisticated vocabulary, but with a heavy accent.
 Jacques sees a tall man in his late thirties, with a bold and long-faced head, wearing Concentration Camp uniform. Vaguely recognizing him and afraid for the moment that he might have already "arrived at heaven":
 ' Who are you? What are you doing here?'
The Capo:
 'Cannot you recognize me? I'm Fruchtenbaum, Capo Fruchtenbaum - that's how you named me in your play that you wrote at school, entirely about me; how could you forget?'
Company comm. Jacques:
 'No, I didn't forget, you are not easy to forget. What does it mean that I see you? Have I "arrived heaven" (i.e. dead)? '
The Capo:
 ' Heaven (scornfully), that's not a subject for discussion with an atheist and communist.'
Company comm. Jacques:
 'So, why are you here? Who asked for you? (Are there) not enough problems?'
The Capo:
'Pardon me, Sir, have you entirely forgotten?  I'm not the one who asked to get into your mind, it's completely the other way around; it was your initiative. For a whole year you wrote and erased, wrote and erased, and wrote again, and directed a play about me.'

End of Part 1

To be continued

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