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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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2. INT. HOTEL ROOM - CRACOW, POLAND - NIGHT 2. The song plays from a radio on a rust-stained sink. 2. The light in the room is dismal, the furniture cheap. The curtains are faded, the wallpaper peeling … but the clothes
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4. EXT. SQUARE - CRACOW - DAY 4. A photograph of a face on a work card, BLACK and WHITE. A typed name, black and white. A hand affixes a sticker to the card and it saturates with COLOR, DEEP BLUE. People in long lines, waiting. Others near idling trucks,
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7. EXT. CRACOW - NIGHT 7. A mason trowels mortar onto a brick. As he taps it into a place and scrapes off the excess cement, the image DRAINS OF COLOR. Under lights, a crew of brick-layers is erecting a ten-foot
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11. EXT. GARDEN - SCHERNER’S RESIDENCE - CRACOW - DAY 11. As Oberfuhrer Scherner and his daughter, in a wedding gown, dance to the music of a quartet on a bandstand, the reception guests drink and eat at tables set up on an expansive lawn. CZURDA
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15. EXT. CRACOW - DAY 15. In BLACK AND WHITE and absolute silence, a suitcase thrown from a second story window arcs slowly through the air. As it hits the pavement, spilling open - SOUND ON - and, returning to COLOR -
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19. INT. FACTORY FLOOR - DAY 19. A red power button is pushed, starting the motor of a huge metal press. The machine whirs, louder, louder. 20. INT. UPSTAIRS OFFICE - SAME TIME - DAY 20. Schindler, at a wall of a windows, is peering down at the
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27. INT. SS OFFICE - DAY 27. Scherner at his desk initialing several Armaments contracts. The letters D.E.F. appear on all of them. 28. EXT. FACTORY - DAY 28. Men and pulleys hoist a big “F” up the side of the building.
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38. EXT. SCHINDLER’S APARTMENT BUILDING - NIGHT 38. They emerge from the building in formal clothes, both of them looking great. It’s wet and slick; the doorman offers Emilie his arm. DOORMAN
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45. INT. GHETTO STOREFRONT - DAY 45. Pfefferberg and Schindler bang in through the front door, startling a woman at a desk. WOMAN AT DESK Can I help you?
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49. EXT. FACTORY - DAY 49. Stern and Schindler emerge from the rear of the factory. The Mercedes is waiting, the back door held open by a driver. Climbing in - SCHINDLER
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55. EXT. SCHERNER’S RESIDENCE - CRACOW - MORNING 55. Pfefferberg wipes a smudge from the hood of an otherwise pristine BMW Cabriolet. As Scherner and his wife emerge from their house in robes, Scherner whispers to himself - SCHERNER
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66. EXT. D.E.F. FACTORY - DAY 66. A Gestapo limousine pulls in through the gates of the factory, parks near the loading docks. The driver, the same SS officer, waits for Schindler to climb out, but he doesn’t; he waits for the SS man to come around and open the door for
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69. EXT./INT. MECHANICS GARAGE - NIGHT 69. Mechanics’ hood-lamps throw down pools of light through which me wheel handcarts piled high with suitcases, briefcases, steamer trunks - BLACK and WHITE. 49.
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74. EXT. PLASZOW FORCED LABOR SITE - DAY 74. Outside of town, a previously abandoned limestone quarry lies nestled between two hills. The stone and brick buildings look like they’ve been here forever; the wooden structures, those that are up, are built of freshly-cut lumber.
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75. EXT. STABLES - DAWN 75. Stable boys lead two horses into the pre-dawn light. The animals’ hoofs shatter tufts of weeds like fingers of glass; fog plumes from their nostrils. 76. EXT. PARK, CRACOW - DAWN 76.
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85. EXT. GHETTO - DAY 85. The wheels of the last truck clear the portals at Lwowska Street and the Sonderkommandos jump down. 86. INT. APARTMENT BUILDINGS - DAWN 86. Families are routed from their apartments. An appeal to be
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103. EXT. PLASZOW SAME TIME - MORNING 103. Workers loading quarry rock onto trolleys under Ukrainian guard and a low morning sun. Every so often, one glances with anticipation to the balcony of Goeth’s “villa” - which is in fact nothing more than a two-story stone house perched
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109. INT. GOETH’S OFFICE - PLASZOW - LATER - DAY 109. The others have gone. It’s just Goeth and Schindler now. Goeth pours glasses of cognac. GOETH Something wonderful’s happened, do you
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110. EXT. D.E.F. SUBCAMP SITE - DAY 110. An SS surveyor, with even paces, measures a distance of the bare field adjacent to the factory. He sticks a little flag into the ground. 64.
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117. INT. GOETH’S VILLA - NIGHT 117. The Rosner brothers in evening clothes, Leo on accordion, Henry on violin, playing a Strauss melody, trying to keep it muted, inoffensive. Few of the guests pay attention, which is fine with them. An SS officer chats with Schindler.
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122. INT. METALWORKS - PLASZOW - DAY 122. Goeth moves through the crowded metalworks like a good- natured foreman, nodding to this worker, wishing that one a good morning. He seems satisfied, even pleased, with the level of production. Goldberg is with him. They reach a
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134. INT. D.E.F. - DAY 134. Schindler waits for her on the landing of the stairs. He doesn’t recognize her, but smiles to counter the unfortunately possibility she’s some old girlfriend he’s forgotten. Reaching him, she offers her hand.
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137. EXT. BALCONY - GOETH’S VILLA - NIGHT 137. Distant music, Brahms’ lullaby, from the Rosner Brothers way down by the women’s barracks calming the inhabitants. Up here on the balcony, Schindler and Goeth, the latter so drunk he can barely stand up, stare out over Goeth’s dark kingdom.
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141. EXT. GOETH’S VILLA - MOMENTS LATER - DAY 141. The worker hurries across the dying lawn outside the villa. He dares a glance back, and at that moment, a hand with a gun appears out the bathroom window and fires. 142. EXT. BARRACKS, PLASZOW - NIGHT 142.
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149. INT. D.E.F. FACTORY - DAY 149. In addition to the mid-day soup and break, there are bowls of fruit on the long work tables. At one of them, several workers are debating which of them will go upstairs to thank Schindler.
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158. EXT. DEPOT - PLASZOW - DAY 158. The sun is higher, the cattle cars hotter. Prisoners’ arms stretch out between the slats offering diamonds in exchange for a sip of water. 159. EXT. PLASZOW - LATER - DAY 159.
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165. EXT. D.E.F. - DAY 165. A German staff car pulls in across the factory gate, blocking it. Two Gestapo men climb out. 93. 166. INT. D.E.F. FACTORY - DAY 166.
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172. INT. OFFICE - MONTELUPICH PRISON - DAY 172. In a stiff-backed chair sits a very unlikely defender of racial improprieties - Amon Goeth. To an impassive SS colonel behind a desk, Goeth tries to highlight extenuating circumstances:
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174. EXT. D.E.F. - DAY 174. From a distance, Schindler can be seen arguing with an SS officer who’s trying to hand him papers, orders of some kind, which the irate industrialist refuses to accept. Here, closer, carrying blankets and bundles, Schindler’s
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185. INT. STERN’S OFFICE - PLASZOW - NIGHT 185. Schindler leafing through the page of names, counting them, drinking, to the sound of the typewriter. Eventually, quietly to himself - SCHINDLER
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188. INT. OFFICE, ADMINISTRATION BUILDING - PLASZOW - DAY 188. Goldberg has the signature page of the list in a typewriter. He carefully aligns it and types his own name in a space allowed by the bottom margin. 189. EXT. SCHINDLER’S BRINNLITZ FACTORY SITE - DAY 189.
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202. INT. OFFICES - BRINNLITZ FACTORY - DAY 202. Schindler comes out of his office and, passing Stern’s desk, mumbles - SCHINDLER They’re in Auschwitz.
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205. INT. CELL - SS PRISON, BRESLAU - DAY 205. In a dank cell, in uniform, Amon Goeth waits. Schindler is on his way, hopefully. Maybe he’s already here. Schindler will vouch for him. Schindler will straighten this out. 206. INT. SS PRISON, BRESLAU - DAY 206.
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213. EXT. BRINNLITZ CAMP - DAY 213. Like a mirage in the distance they appear - the women, the children, guards, Schindler, marching across a field toward the factory. At the perimeter of the camp, at the wire, the men watch the
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217. INT. WORKERS BARRACKS - NIGHT 217. Under the shadow of a watchtower, among the roof-high tiers of bunks strung with laundry, Levartov recites Kiddush over a cup of wine to workers gathered around him. 218. INT. GUARDS BARRACKS - NIGHT 218.
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223. INT. OFFICES - BRINNLITZ FACTORY - DAY 223. Stern glances up from his work; Schindler and Emilie have come in and are walking toward the accountant’s desk. He gets up. SCHINDLER
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227. INT. CLINIC - LATER - DAY 227. In a quiet corner of the clinic, Schindler concentrates on the disquieting news Stern has brought him: STERN We’ve received a complaint from the
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235. EXT. RURAL BRINNLITZ - DAY 235. In the distance, a lone boxcar, stark against the winter landscape. There are patches of snow on the ground. A cold wind blows through bare trees. SCHINDLER (V.O.)
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246. INT. BRINNLITZ FACTORY - DAY 246. Workers glance up at a horrible apparition from the pit of their foulest dreams - Amon Goeth crossing through the factory. Schindler, his arm around the killer’s shoulder as if he were
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254. EXT. BRINNLITZ CAMP - NIGHT 254. A watchtower. Abandoned. The perimeter wire. No sentries. The guard barracks. Deserted. The SS is long gone. 146. 255. EXT. COURTYARD - BRINNLITZ CAMP - NIGHT 255.
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256. EXT. BRINNLITZ - NIGHT 256. A panzer emerges from the treeline well beyond the wire of the camp and just sits there growling like a beast. Suddenly it fires a shell at nothing in particular, at the night - an exhibition of random spite - then turns around and rolls back
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262. EXT. BRINNLITZ - DAY 262. All twelve hundred of them, a great moving crowd coming forward, crosses the land laying between the camp, behind them, and the town, in front of them. Tight on the FACE of one of the MEN.

Schindler's List

Amidst the horrors of the Holocaust, a German businessman risks everything to save the lives of over a thousand Jews by employing them in his factory.

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Overview

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Unique Selling Point

This script offers a unique perspective on the Holocaust through its portrayal of Oskar Schindler's transformation from a self-centered businessman to a compassionate savior. The writer's voice is characterized by descriptive and atmospheric language, sharp and impactful dialogue, and a focus on power dynamics and moral ambiguity. Each scene showcases the authenticity of the characters' actions and dialogue, adding depth and complexity to the screenplay. The script stands out in its genre by exploring the complexities of human nature and the moral dilemmas faced during one of history's darkest periods. It will captivate its target audience with its thought-provoking storytelling and compelling portrayal of redemption and sacrifice.

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Gemini
 Highly Recommend
Claude
 Recommend
Story Facts

Genres: Drama, War, Historical

Setting: The screenplay is set during World War II, primarily in Cracow, Poland, and later in Brinnlitz, Czechoslovakia., The story takes place in various locations including hotels, nightclubs, apartments, factories, ghettos, and concentration camps.

Themes: Power and Corruption, Resistance and Survival, Humanity and Compassion, Ethics and Morality, Injustice and Oppression

Conflict & Stakes: The primary conflict in this story is the struggle between good and evil during the Holocaust, with the stakes being the lives of over a thousand Jewish workers who are at risk of being killed in concentration camps.

Mood: The overall mood of the screenplay is somber and reflective, with moments of tension and hope.

Standout Features:

  • True Story: Based on the true story of Oskar Schindler's efforts to save Jewish lives during the Holocaust.
  • Powerful Performances: The screenplay offers opportunities for actors to deliver powerful and emotionally charged performances.
  • Historical Significance: The screenplay explores an important chapter in history and sheds light on the heroism and atrocities of the Holocaust.

Comparable Scripts: Schindler's List, The Pianist, Life is Beautiful, The Diary of Anne Frank, The Boy in the Striped Pyjamas, Sophie's Choice, The Book Thief, The Counterfeiters, The Reader, Inglourious Basterds

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Overall Score: 8.50
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