Schindler's List
Executive Summary
Overview
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.
Overview: Set in the backdrop of World War II, Schindler's List follows the story of Oskar Schindler, a charismatic and self-centered businessman who transforms into a compassionate savior. Initially motivated by profit, Schindler witnesses the atrocities of the war and the suffering of Jewish prisoners, leading him to question his own actions and eventually risk everything to save the lives of over a thousand Jews. The story is a poignant exploration of redemption, sacrifice, and the human spirit's resilience in the face of unimaginable adversity.
Themes: Power and Corruption, Resistance and Survival, Humanity and Compassion, Ethics and Morality, Injustice and Oppression
Conflict and 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.
Overall Mood: The overall mood of the screenplay is somber and reflective, with moments of tension and hope.
Mood/Tone at Key Scenes:
- Scene 1: The mood in this scene is mysterious and tense as Schindler attracts attention and the lieutenant becomes curious about him.
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
Writing Style:
The writing style of the entire screenplay is characterized by a blend of sharp and impactful dialogue, exploration of complex moral dilemmas, and the creation of tension and suspense through dialogue and unexpected conflicts.
Style Similarities:
- Quentin Tarantino
- Aaron Sorkin
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Schindler's List' is recommended for its effective portrayal of the atmosphere and mood of the time, as well as its strong character introductions and development. The transitions between scenes and locations could be smoother, and there is a need for more context and background information to provide a deeper understanding of the historical and political context. The screenplay would benefit from a clearer resolution to certain conflicts and a more cohesive exploration of the relationships between characters. Overall, the narrative is engaging and compelling, with notable scenes that effectively capture the contrasts and tensions of the story.
USP: 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.
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 25-54, fans of historical dramas and war films
Marketability: The screenplay is based on a true story and has received critical acclaim, making it highly marketable to a wide adult audience.
The screenplay explores important themes and features compelling characters, which will attract audiences looking for thought-provoking dramas.
The screenplay has the potential to generate awards buzz and attract a diverse audience due to its historical significance and emotional impact.
Profit Potential: High, due to the strong appeal of the story, critical acclaim, and potential for award recognition.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by descriptive and atmospheric language, sharp and impactful dialogue, and a focus on power dynamics and moral ambiguity. The narrative descriptions create vivid imagery and set the tone and atmosphere of each scene. The dialogue reflects the motivations and emotions of the characters, while also exploring complex themes and conflicts. The writer's voice adds depth and complexity to the screenplay, emphasizing the moral dilemmas and transformations of the characters.
Best representation: Scene 1 - A Business Proposition. This scene is the best representation of the writer's voice because it showcases the descriptive and atmospheric language, sharp and impactful dialogue, and focus on power dynamics and moral ambiguity that are characteristic of the writer's style. The narrative description sets the tone and atmosphere of the scene, while the dialogue reflects the power dynamics and manipulation of the characters. The writer's voice adds depth and complexity to the scene, emphasizing the conflicting values and moral dilemmas faced by the protagonist.
Memorable Lines:
- Schindler: I could've got more... (Scene 40)
- Amon Goeth: Today is history and you are a part of it. (Scene 15)
- Schindler: All I have is Jews. (Scene 19)
- Schindler: There’s no way I could have known this before, but there was always something missing. In every business I tried, I see now it wasn’t me that was failing, it was this thing, this missing thing. Even if I’d known what it was, there’s nothing I could have done about it, because you can’t create this sort of thing. And it makes all the difference in the world between success and failure. (Scene 8)
- Schindler: I’m a member of the Nazi party. I’m a munitions manufacturer. I’m a profiteer of slave labor, I’m a criminal. At midnight, you will be free and I will be hunted. (Scene 39)
Characters
Oskar Schindler:A German businessman who becomes an unlikely hero by saving over a thousand Jewish lives during the Holocaust.
Itzhak Stern:Schindler's Jewish accountant who helps him in his efforts to save Jewish workers.
Amon Goeth:A sadistic SS officer who oversees the Plaszow concentration camp and poses a threat to Schindler's mission.
Emilie Schindler:Oskar Schindler's wife who supports his efforts to save Jewish lives.
Poldek Pfefferberg:A Jewish worker who becomes a close associate of Schindler and helps him in his mission.
Rabbi Levartov:A rabbi who provides spiritual guidance to the Jewish workers and plays a key role in their survival.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Schindler's Nightclub Encounter | Dark, Intense, Suspenseful | 9 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
2 - A Business Proposition | Serious, Tense, Intense, Mysterious | 9 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
3 - Black Market Deals and Shirt Measurements | Tense, Serious, Conversational | 8 | 7 | 7 | 7 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 6 | 9 | 8 | 8 | 9 | 9 | |
4 - A Wedding Gift | Serious, Tense, Tragic | 9 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 10 | 7 | 9 | 8 | 9 | 8 | |
5 - Forced Exodus and Negotiations | Serious, Tense, Melancholic | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
6 - Schindler's Dilemma | Serious, Tense, Informative | 8 | 7 | 7 | 9 | 8 | 8 | 8 | 7 | 6 | 8 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | |
7 - Schindler's Business and Personal Interactions | Serious, Reflective, Proud | 9 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 6 | 6 | 7 | 7 | 8 | 9 | 8 | |
8 - A Night Out and Uncertain Goodbyes | Serious, Intimate, Reflective | 9 | 8 | 7 | 6 | 9 | 8 | 8 | 7 | 5 | 8 | 6 | 6 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
9 - Confrontation and Gratitude | Tense, Serious, Confrontational | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
10 - Frustration and Rejection | Tense, Serious, Frustrated | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
11 - Arrest and Release | Tense, Serious, Confrontational, Defiant | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | |
12 - Schindler's Attempt to Save Stern | Tense, Serious, Confrontational | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | |
13 - Sorting Jewelry and Touring the Ghetto | Tense, Serious, Melancholic | 9 | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 7 | 8 | 7 | 10 | 7 | 9 | 8 | 9 | 9 | |
14 - Brutal Order | Tense, Dark, Disturbing | 9 | 8 | 7 | 6 | 9 | 7 | 8 | 7 | 9 | 9 | 10 | 8 | 8 | 10 | 7 | 9 | 8 | 9 | 8 | |
15 - Dawn in Cracow | Tense, Serious, Dark | 9 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 8 | 6 | 9 | 8 | 9 | 9 | |
16 - The Violent Evacuation | Dark, Intense, Grim | 9 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 10 | 8 | 7 | 10 | 6 | 9 | 8 | 9 | 8 | |
17 - Tension and Amusement at Plaszow Quarry Camp | Tense, Dark, Serious | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
18 - Duty and Financial Opportunity | Tense, Serious, Confrontational, Reflective | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 7 | 7 | 9 | 10 | 8 | 8 | 9 | 9 | |
19 - Increasing Security Measures | Tense, Dark, Serious | 9 | 8 | 9 | 6 | 9 | 8 | 7 | 8 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
20 - Schindler Helps Leo and Confronts Goeth | Tense, Dark, Serious, Sarcastic | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
21 - Sadistic Behavior and Distractions | Tense, Suspenseful, Dramatic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | |
22 - Refusal and Concerns | Tense, Depressing, Cold | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
23 - Power and Justice | Intense, Tense, Dramatic | 9 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
24 - Tense Confrontation and Stealing Allegations | Tense, Serious, Intense | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
25 - Schindler's Birthday Celebration and the Sorting Process | Tense, Dramatic, Serious | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 6 | 7 | 9 | 9 | 9 | 8 | |
26 - Desperate Prisoners and Schindler's Proposal | Tense, Cruel, Hopeful | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
27 - Arrest and Confession | Tense, Serious, Dramatic | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
28 - Failed Justification and Tragic Melancholy | Tense, Melancholic, Serious | 9 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 10 | 8 | 8 | 8 | 9 | 9 | |
29 - Schindler's Descent | Tense, Grim, Melancholic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
30 - Schindler's Secret Deal | Serious, Tense, Emotional | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 10 | 8 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
31 - Chaos and Conflict at Plaszow | Serious, Dark, Tense | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 10 | 8 | 10 | 8 | 9 | 8 | 9 | 8 | |
32 - Schindler Confronted by Gestapo and Doctor's Deception | Tense, Serious, Hopeless | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 9 | 9 | 8 | |
33 - Saving Lives and Desperate Negotiations | Tense, Serious, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 9 | 10 | 8 | 10 | 9 | 9 | 8 | |
34 - Schindler Asserts Authority and Shows Compassion | Serious, Hopeful, Tense | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 9 | 8 | 8 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
35 - Longing and Tension in the Brinnlitz Camp | Tense, Emotional, Reflective | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 6 | 7 | 7 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
36 - Schindler Introduces Emilie and Stern, Radio Fixed, Hopeful News | Tense, Hopeful, Serious | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 6 | 6 | 6 | 7 | 9 | 5 | 9 | 8 | 7 | 8 | 9 | 8 | |
37 - Schindler's Intervention | Serious, Tense, Determined | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 8 | 10 | 9 | 7 | 10 | 7 | 8 | 9 | 9 | 8 | |
38 - Burial of the Victims | Somber, Reflective, Resolute | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 10 | 7 | 9 | 9 | 9 | 9 | |
39 - Amon Goeth's Visit to the Brinnlitz Factory | Tense, Serious, Reflective | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 8 | |
40 - Schindler's Regret | Guilt, Regret, Emotional, Reflective | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 5 | 8 | 9 | 7 | 7 | 10 | 8 | 10 | 9 | 9 | 8 | |
41 - Liberation at Brinnlitz | Shocking, Hopeful, Somber | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 6 | 7 | 8 | 9 | 7 | 10 | 7 | 9 | 8 | 9 | 8 | |
42 - A Dinner Invitation | Reflective, Hopeful, Bittersweet | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | 4 | 6 | 6 | 7 | 7 | 10 | 8 | 8 | 8 | 9 | 9 |
Scene 1 - Schindler's Nightclub Encounter
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
laid out across the single bed are beautiful.
The hands of a man button the shirt, belt the slacks. He
slips into the double-breasted jacket, knots the silk tie,
folds a handkerchief and tucks it into the jacket pocket, all
with great deliberation.
A bureau. Some currency, cigarettes, liquor, passport. And
an elaborate gold-on-black enamel Hakenkreuz (or swastika)
which the gentleman pins to the lapel of his elegant dinner
jacket.
He steps back to consider his reflection in the mirror. He
likes what he sees: Oskar Schindler - salesman from Zwittau -
looking almost reputable in his one nice suit.
Even in this awful room.
3. INT. NIGHTCLUB - CRACOW, POLAND - NIGHT 3.
A spotlight slicing across a crowded smoke-choked club to a
small stage where a cabaret performer sings.
It’s September, 1939. General Sigmund List’s armored
divisions, driving north from the Sudetenland, have taken
Cracow, and now, in this club, drinking, socializing,
conducting business, is a strange clientele: SS officers and
Polish cops, gangsters and girls and entrepreneurs, thrown
together by the circumstance of war.
Oskar Schindler, drinking alone, slowly scans the room, the
faces, stripping away all that’s unimportant to him, settling
only on details that are: the rank of this man, the higher
rank of that one, money being slipped into a hand.
A WAITER SETS DOWN DRINKS
in front of the SS officer who took the money. A lieutenant,
he’s at a table with his girlfriend and a lower-ranking
officer.
3.
WAITER
From the gentleman.
The waiter is gesturing to a table across the room where
Schindler, seemingly unaware of the SS men, drinks with the
best-looking woman in the place.
LIEUTENANT
Do I know him?
His sergeant doesn’t. His girlfriend doesn’t.
LIEUTENANT
Find out who he is.
The sergeant makes his way over to Schindler’s table.
There’s a handshake and introductions before - and the
lieutenant, watching, can’t believe it - his guy accepts the
chair Schindler’s dragging over.
The lieutenant waits, but his man doesn’t come back; he’s
forgotten already he went there for a reason. Finally, and
it irritates the SS man, he has to get up and go over there.
LIEUTENANT
Stay here.
His girlfriend watches him cross toward Schindler’s table.
Before he even arrives, Schindler is up and berating him for
leaving his date way over there across the room, waving at
the girl to come join them, motioning to waiter to slide some
tables together.
WAITERS ARRIVE WITH PLATES OF CAVIAR
and another round of drinks. The lieutenant makes a half-
hearted move for his wallet.
LIEUTENANT
Let me get this one.
SCHINDLER
No, put it away, put it away.
4.
Schindler’s already got his money out. Even as he’s paying,
his eyes are working the room, settling on a table where a
girl is declining the advances of two more high-ranking SS
men.
A TABLECLOTH BILLOWS
as a waiter lays it down on another table that’s been added
to the others. Schindler seats the SS officers on either
side of his own “date” -
SCHINDLER
What are you drinking, gin?
He motions to a waiter to refill the men’s drinks, and,
returning to the head of the table(s), sweeps the room again
with his eyes.
A ROAR OF LAUGHTER
erupts from Schindler’s party in the corner. Nobody’s having
a better time than those people over there. His guests have
swelled to ten or twelve - SS men, Polish cops, girls - and
he moves among them like the great entertainer he is, making
sure everybody’s got enough to eat and drink.
Here, closer, at this table across the room, an SS officer
gestures to one of the SS men who an hour ago couldn’t get
the girl to sit at his table. The guy comes over.
SS OFFICER 1
Who is that?
SS OFFICER 2
(like everyone knows)
That’s Oskar Schindler. He’s an old
friend of … I don’t know, somebody’s.
A GIRL WITH A BIG CAMERA
screws in a flashbulb. She lifts the unwieldy thing to her
face and focuses.
5.
As the bulb flashes, the noise of the club suddenly drops
out, and the moment is caught in BLACK and WHITE: Oskar
Schindler, surrounded by his many new friends, smiling
urbanely.
Ratings
Scene 2 - A Business Proposition
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,
waiting. Others against sides of buildings, waiting. Clerks
with clipboards move through the crowds, calling out names.
CLERKS
Groder … Gemeinerowa … Libeskind …
5. INT. APARTMENT BUILDING - CRACOW - DAY 5.
The party pin in his lapel catches the light in the hallway.
SCHINDLER
Stern?
Behind Schindler, the door to another apartment closes
softly. A radio, somewhere, is suddenly silenced.
SCHINDLER
Are you Itzhak Stern?
At the door of this apartment, a man with the face and manner
of a Talmudic scholar, finally nods in resignation, like his
number has just come up.
STERN
I am.
Schindler offers a hand. Confused, Stern tentatively reaches
for it, and finds his own grasped firmly.
6.
6. INT. STERN’S APARTMENT - DAY 6.
Settled into an overstuffed chair in a simple apartment,
Schindler pours a shot of cognac from a flask.
SCHINDLER
There’s a company you did the books for
on Lipowa Street, made what, pots and
pans?
Stern stares at the cognac Schindler’s offering him. He
doesn’t know who this man is, or what he wants.
STERN
(pause)
By law, I have to tell you, sir, I’m a
Jew.
Schindler looks puzzled, then shrugs, dismissing it.
SCHINDLER
All right, you’ve done it - good company,
you think?
He keeps holding out the drink. Stern declines it with a
slow shake of his head.
STERN
It did all right. Schindler nods, takes
out a cigarette case.
SCHINDLER
I don’t know anything about enamelware,
do you?
He offers Stern a cigarette. Stern declines again.
STERN
I was just the accountant.
7.
SCHINDLER
Simple engineering, though, wouldn’t you
think? Change the machines around,
whatever you do, you could make other
things, couldn’t you?
Schindler lowers his voice as if there could possibly be
someone else listening in somewhere.
SCHINDLER
Field kits, mess kits …
He waits for a reaction, and misinterprets Stern’s silence
for a lack of understanding.
SCHINDLER
Army contracts.
But Stern does understand. He understands too well.
Schindler grins good-naturedly.
SCHINDLER
Once the war ends, forget it, but for now
it’s great, you could make a fortune.
Don’t you think?
STERN
(with an edge)
I think most people right now have other
priorities.
Schindler tries for a moment to imagine what they could
possibly be. He can’t.
SCHINDLER
Like what?
Stern smiles despite himself. The man’s manner is so simple,
so in contrast to his own and the complexities of being a Jew
in occupied Cracow in 1939. He really doesn’t know. Stern
decides to end the conversation.
8.
STERN
Get the contracts and I’m sure you’ll do
very well. In fact the worse things get
the better you’ll do. It was a
“pleasure.”
SCHINDLER
The contracts? That’s the easy part.
Finding the money to buy the company,
that’s hard.
He laughs loudly, uproariously. But then, just as abruptly
as the laugh erupted, he’s dead serious, all kidding aside -
SCHINDLER
You know anybody?
Stern stares at him curiously, sitting there taking another
sip of his cognac, placid as a large dog.
SCHINDLER
Jews, yeah. Investors.
STERN
(pause)
Jews can no longer own businesses, sir,
that’s why this one’s for sale.
SCHINDLER
Well, they wouldn’t own it, I’d own it.
I’d pay them back in product. They can
trade it on the black market, do whatever
they want, everybody’s happy.
He shrugs; it sounds more than fair to him. But not to
Stern.
STERN
Pots and pans.
SCHINDLER
(nodding)
Something they can hold in their hands.
9.
Stern studies him. This man is nothing more than a salesman
with a salesman’s pitch; just dressed better than most.
STERN
I don’t know anybody who’d be interested
in that.
SCHINDLER
(a slow knowing nod)
They should be.
Silence.
Ratings
Scene 3 - Black Market Deals and Shirt Measurements
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
wall where a street once ran unimpeded.
8. EXT. STREET - CRACOW - DAY 8.
A young man emerges from an alley pocketing his Jewish
armband. He crosses a street past German soldiers and trucks
and climbs the steps of St. Mary’s cathedral.
9. INT. ST. MARY’S CATHEDRAL - DAY 9.
A dark and cavernous place. A priest performing Mass to
scattered parishioners. Lots of empty pews.
The young Polish Jew from the street, Poldek Pfefferberg,
kneels, crosses himself, and slides in next to another young
man, Goldberg, going over notes scribbled on a little pad
inside a missal. Pfefferberg shows him a container of shoe
polish he takes from his pocket. Whispered, bored -
GOLDBERG
What’s that?
10.
PFEFFERBERG
You don’t recognize it? Maybe that’s
because it’s not what I asked for.
GOLDBERG
You asked for shoe polish.
PFEFFERBERG
My buyers sold it to a guy who sold it to
the Army. But by the time it got there -
because of the cold - it broke, the whole
truckload.
GOLDBERG
(pause)
So I’m responsible for the weather?
PFEFFERBERG
I asked for metal, you gave me glass.
GOLDBERG
This is not my problem.
PFEFFERBERG
Look it up.
Goldberg doesn’t bother; he pockets his little notepad and
intones a response to the priest’s prayer, all but ignoring
Pfefferberg.
PFEFFERBERG
This is not your problem? Everybody
wants to know who I got it from, and I’m
going to tell them.
Goldberg glances to Pfefferberg for the first time, and,
greatly put upon, takes out his little notepad again and
makes a notation in it.
GOLDBERG
Metal.
11.
He flips the pad closed, pockets it, crosses himself as he
gets up, and leaves.
10. INT. HOTEL - DAY 10.
Pfefferberg at the front desk of a sleepy hotel with another
black market middleman, the desk clerk. Both are wearing
their armbands. Pfefferberg underlines figures on a little
notepad of his own -
PFEFFERBERG
Let’s say this is what you give me. These
are fees I have to pay some guys. This is
my commission. This is what I bring you
back in Occupation currency.
The clerk, satisfied with the figures, is about to hand over
to Pfefferberg some outlawed Polish notes from an envelope
when Schindler comes in from the street. The clerk puts the
money away, gets Schindler his room key, waits for him to
leave so he can finish his business with Pfefferberg … but
Schindler doesn’t leave; he just keeps looking over at
Pfefferberg’s shirt, at the cuffs, the collar.
PFEFFERBERG
That’s a nice shirt.
Pfefferberg nods, Yeah, thanks, and waits for Schindler to
leave; but he doesn’t. Nor does he appear to hear the short
burst of muffled gunfire that erupts from somewhere up the
street.
SCHINDLER
You don’t know where I could find a shirt
like that.
Pfefferberg knows he should say ‘no,’ let that be the end of
it. It’s not wise doing business with a German who could
have you arrested for no reason whatsoever. But there’s
something guileless about it.
PFEFFERBERG
Like this?
12.
SCHINDLER
(nodding)
There’s nothing in the stores.
The clerk tries to discourage Pfefferberg from pursuing this
transaction with just a look. Pfefferberg ignores it.
PFEFFERBERG
You have any idea what a shirt like this
costs?
SCHINDLER
Nice things cost money.
The clerk tries to tell Pfefferberg again with a look that
this isn’t smart.
PFEFFERBERG
How many?
SCHINDLER
I don’t know, ten or twelve. That’s a
good color. Dark blues, grays.
Schindler takes out his money and begins peeling off bills,
waiting for Pfefferberg to nod when it’s enough. He’s being
overcharged, and he knows it, but Pfefferberg keeps pushing
it, more. The look Schindler gives him lets him know that
he’s trying to hustle a hustler, but that, in this instance
at least, he’ll let it go. He hands over the money and
Pfefferberg hands over his notepad.
PFEFFERBERG
Write down your measurements.
As he writes down the information, Pfefferberg glances to the
desk clerk and offers a shrug. As he writes -
SCHINDLER
I’m going to need some other things. As
things come up.
13.
Ratings
Scene 4 - A Wedding Gift
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
The SS doesn’t own the trains, somebody’s
got to pay. Whether it’s a passenger car
or a livestock car, it doesn’t matter -
which, by the way, you have to see. You
have to set aside an afternoon, go down
to the station and see this.
Other SS and Army officers share the table with Czurda.
Schindler, too, nice blue shirt, jacket, only he doesn’t seem
to be paying attention; rather his attention and affections
are directed to the blonde next to him, Ingrid.
CZURDA
So you got thousands of fares that have
to be paid. Since it’s the SS that’s
reserved the trains, logically they
should pay. But this is a lot of money.
(pause)
The Jews. They’re the ones riding the
trains, they should pay. So you got Jews
paying their own fares to ride on cattle
cars to God knows where. They pay the SS
full fare, the SS turns around, pays the
railroad a reduced excursion fare, and
pockets the difference.
He shrugs, There you have it. Brilliant. He glances off,
sees something odd across the yard. Two horses, saddled-up,
being led into the garden by a stable boy.
SCHINDLER
(to Ingrid)
Excuse me.
14.
Schindler gets up from the table. Scherner, his wife and
daughter and son-in-law stare at the horses; they’re
beautiful.
Schindler appears, takes the reins from the stable boy, hands
one set to the bride and the other to the groom.
SCHINDLER
There’s nothing more sacred than
marriage. No happier an occasion than
one’s wedding day. I wish you all the
best.
Scherner hails a photographer. As the guy comes over with
his camera, so does just about everybody else. Scherner
insists Schindler pose with the astonished bride and groom.
Big smiles. Flash.
12. INT. STOREFRONT - CRACOW - DAY 12.
A neighborhood place. Bread, pastries, couple of tables. At
one sits owner and a well-dressed man in his seventies, Max
Redlicht.
OWNER
I go to the bank, I go in, they tell me
my account’s been placed in Trust. In
Trust? What are they talking about,
whose Trust? The Germans’. I look
around. Now I see that everybody’s
arguing, they can’t get to their money
either.
MAX REDLICHT
This is true?
OWNER
I’ll take you there.
Max looks at the man not without sympathy. He’s never heard
of such a thing. It’s really a bad deal. But then -
15.
MAX REDLICHT
Let me understand. The Nazis have taken
your money. So because they’ve done this
to you, you expect me to go unpaid.
That’s what you’re saying. The owner of
the place just stares at Redlicht.
MAX REDLICHT
That makes sense to you?
The man doesn’t answer. He watches Max get up and cross to
the front door where he says something to two of his guys and
leaves. The guys come in and start carting out anything of
any value: cash register, a chair, a loaf of bread …
13. EXT. CRACOW STREET - DAY 13.
Max strolls along the sidewalk, browsing in store windows.
People inside and out nod hello, but they despise him, they
fear him.
Just as he’s passing a synagogue, some men in long overcoats
cross the street. Einsatzgruppen, they are an elite and wild
bunch, one of six Special Chivalrous Duty squads assigned to
Cracow.
14. INT. STARAR BOZNICA SYNAGOGUE - SAME TIME - DAY 14.
The Sabbath prayers of a congregation of Orthodox Jews are
interrupted by a commotion at the rear of the ancient temple.
Several non-Orthodox Jews from the street, including Max
Redlicht, are being herded inside by the Einsatz Boys.
They’re made to stand before the Ark in two lines: Orthodox
and non. One of the Einsatzgruppen squad removes the
parchment Torah scroll while another calmly addresses the
assembly:
EINSATZ NCO
I want you to spit on it. I want you to
walk past, spit on it, and stand over
there.
16.
No one does anything for a moment. The liberals from the
street seem to say with their eyes, Come on, we’re all too
sophisticated for this; the others, with the beards and
sidelocks, silently check with their rabbi.
One by one then they file past and spit on the scroll. The
last two, the rabbi and Max Redlicht hesitate. They exchange
a glance. The rabbi finally does it; the gangster doesn’t.
after a long tense silence.
MAX REDLICHT
I haven’t been to temple must be fifty
years.
(to the rabbi)
Nor have I been invited.
The Einsatz NCO glances from Max to the rabbi and smiles to
himself. This is unexpected, this rift.
MAX REDLICHT
(to the rabbi)
You don’t approve of the way I make my
living? I’m a bad man, I do bad things?
Max admits it with a shrug.
MAX REDLICHT
I’ve done some things … but I won’t do
this.
Silence. The Einsatz NCO glances away to the others, amused.
EINSATZ NCO
What does this mean? Of all of you,
there’s only one who has the guts to say
no? One? And he doesn’t even believe?
(no one, of course answer him)
I come in here, I ask you to do something
no one should ever ask. And you do it?
(pause)
What won’t you do?
Nobody answers. He turns to Max.
17.
EINSATZ NCO
You, sir, I respect.
He pulls out a revolver and shoots the old gangster in the
head. He’s dead before he hits the floor.
EINSATZ NCO
The rest of you …
… are beneath his contempt.
He turns and walks away. The other Einsatz Boys pull rifles
and revolvers from their coats and open fire.
Ratings
Scene 5 - Forced Exodus and Negotiations
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 -
Thousands of families pushing barrows through the streets of
Kazimierz, dragging mattresses over the bridge at Podgorze,
carrying kettles and fur coats and children on a mass forced
exodus into the ghetto.
Crowds of Poles line the sidewalks like spectators on a
parade route. Some wave. Some take it more soberly, as if
sensing they may be next.
POLISH GIRL
Goodbye, Jews.
16. EXT. GHETTO GATE - DAY 16.
The little folding tables have been dragged out and set up
again, and at them sit the clerks.
Goldberg, of all people, has somehow managed to elevate
himself to a station of some authority. Armed with something
more frightening than a gun - a clipboard - he abets the
Gestapo in their task of deciding who passes through the
ghetto gate and who detours to the train station.
18.
PFEFFERBERG
What’s this?
Pfefferberg, with his wife Mila, at the head of a line that
seems to stretch back forever, flicks at Goldberg’s OD
armband with disgust.
GOLDBERG
Ghetto Police. I’m a policeman now, can
you believe it?
PFEFFERBERG
Yeah, I can.
They consider each other for a long moment before Pfefferberg
leads his wife past Goldberg and into the ghetto.
17. INT. APARTMENT BUILDING, GHETTO - NIGHT 17.
Dismayed by each others’ close proximity, Orthodox and
liberal Jews wait to use the floor’s single bathroom.
18. INT. GHETTO APARTMENT - NIGHT 18.
From the next apartment comes the liturgical solo of a
cantor. In this apartment, looking like they can’t bear much
more of it, sit some non-Orthodox businessmen, Stern and
Schindler.
SCHINDLER
For each thousand you invest, you take
from the loading dock five hundred kilos
of product a month - to begin in July and
to continue for one year - after which
time, we’re even.
(he shrugs)
That’s it.
He lets them think about it, pours a shot of cognac from his
flask, offers it to Stern, who brought this group together
and now sits at Schindler’s side. The accountant declines.
19.
INVESTOR 1
Not good enough.
SCHINDLER
Not good enough? Look where you’re
living. Look where you’ve been put. “Not
good enough.”
(he almost laughs at
the squalor)
A couple of months ago, you’d be right.
Not anymore.
INVESTOR 1
Money’s still money.
SCHINDLER
No, it isn’t, that’s why we’re here.
Schindler lights a cigarette and waits for their answer. It
doesn’t come. Just a silence. Which irritates him.
SCHINDLER
Did I call this meeting? You told Mr.
Stern you wanted to speak to me. I’m
here. Now you want to negotiate? The
offer’s withdrawn.
He caps his flask, pockets it, reaches for his top coat.
INVESTOR 2
How do we know you’ll do what you say?
SCHINDLER
Because I said I would. What do you
want, a contract? To be filed where?
(he slips into his coat)
I said what I’ll do, that’s our contract.
The investors study him. This is not a manageable German.
Whether he’s honest or not is impossible to say. Their
glances to Stern don’t help them; he doesn’t know either.
20.
The silence in the room is filled by the muffled singing next
door. One of the men eventually nods, He’s in. Then
another. And another.
Ratings
Scene 6 - Schindler's Dilemma
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
lone technician making adjustments to the machine.
STERN
The standard SS rate for Jewish skilled
labor is seven Marks a day, five for
unskilled and women. This is what you
pay the Economic Office, the laborers
themselves receive nothing. Poles you
pay wages. Generally, they get a little
more. Are you listening?
Schindler turns from the wall of glass to face his new
accountant.
SCHINDLER
What was that about the SS, the rate,
the … ?
STERN
The Jewish worker’s salary, you pay it
directly to the SS, not to the worker. He
gets nothing.
SCHINDLER
But it’s less. It’s less than what I
would pay a Pole. That’s the point I’m
trying to make. Poles cost more.
Stern hesitates, then nods. The look on Schindler’s face
says, Well, what’s to debate, the answer’s clear to any fool.
21.
SCHINDLER
Why should I hire Poles?
21. INT. FACTORY FLOOR - DAY 21.
Another machine starting up, growling louder, louder -
22. EXT. PEACE SQUARE, THE GHETTO - DAY 22.
To a yellow identity card with a sepia photograph a German
clerk attaches a blue sticker, the holy Blauschein, proof
that the carrier is an essential worker. At other folding
tables other clerks pass summary judgment on hundreds of
ghetto dwellers standing in long lines.
TEACHER
I’m a teacher.
The man tries to hand over documentation supporting the claim
along with his Kennkarte to a German clerk.
CLERK
Not essential work, stand over there.
Over there, other “non-essential people” are climbing onto
trucks bound for unknown destinations. The teacher
reluctantly relinquishes his place in line.
23. EXT. PEACE SQUARE - LATER - DAY 23.
The teacher at the head of the line again, but this time with
Stern at his side.
TEACHER
I’m a metal polisher.
He hands over a piece of paper. The clerk takes a look, is
satisfied with it, brushes glue on the back of a Blauschein
and sticks it to the man’s work card.
CLERK
Good.
22.
The world’s gone mad.
24. INT. FACTORY FLOOR - DAY 24.
Another machine starting up, a lathe. A technician points
things out to the teacher and some others recruited by Stern.
The motor grinds louder, louder.
25. INT. APARTMENT - DAY 25.
Schindler wanders around a large empty apartment. There’s
lots of light, glass bricks, modern lines, windows looking
out on a park.
26. INT. THE APARTMENT - NIGHT 26.
The same place full of furniture and people. Lots of SS in
uniform. Wine. Girls. Schindler, drinking with Oberfuhrer
Scherner, keeps glancing across the room to a particularly
good-looking Polish girl with another guy in uniform.
SCHERNER
I’d never ask you for money, you know
that. I don’t even like talking about it -
money, favors - I find it very awkward,
it makes me very uncomfortable -
SCHINDLER
No, look. It’s the others. They’re the
ones causing these delays.
SCHERNER
What others?
SCHINDLER
Whoever. They’re the ones. They’d
appreciate some kind of gesture from me.
Scherner thinks he understands what Schindler’s saying. Just
in case he doesn’t -
23.
SCHINDLER
I should send it to you, though, don’t
you think? You can forward it on? I’d be
grateful.
Scherner nods. Yes, they understand each other.
SCHERNER
That’d be fine.
SCHINDLER
Done. Let's not talk about it anymore,
let’s have a good time.
Ratings
Scene 7 - Schindler's Business and Personal Interactions
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.
Down below, Schindler watches as the letter is set into place
- D.E.F.
29. INT. FACTORY OFFICES - DAY 29.
The good-looking Polish girl from the party, Klonowska, is
shown to her desk by Stern. It’s right outside Schindler’s
office. This girl has never typed in her life.
30. INT. FACTORY FLOOR - DAY 30.
Flames ignite with a whoosh in one of the huge furnaces. The
needle on a gauge slowly climbs.
31. EXT. CRACOW - DAY 31.
A garage door slides open revealing a gleaming black
Mercedes. Schindler steps past Pfefferberg and, moving
around the car, carefully touches its smooth lines.
24.
32. INT. FACTORY - DAY 32.
Another machine starts up. Another. Another.
33. EXT. PEACE SQUARE - DAY 33.
Stern with a woman at the head of a line. The clerk affixes
the all-important blue sticker to her work card.
34. INT. FACTORY DAY - DAY 34.
Three hundred Jewish laborers, men and women, work at the
long tables, at the presses, the latches, the furnaces,
turning out field kitchenware and mess kits.
Few glance up from their work at Schindler, the big gold
party pin stuck into his lapel, as he moves through the
place, his place, his factory, in full operation.
He climbs the stairs to the offices where several secretaries
process Armaments orders. He gestures to Stern, at a desk
covered with ledgers, to join him in his office.
35. INT. SCHINDLER’S OFFICE - CONTINUOUS - DAY 35.
The accountant follows Schindler into the office.
SCHINDLER
Sit down.
Schindler goes to the wall of windows, his favorite place in
the world, and looks down at all the activity below. He
pours two drinks from a decanter and, turning back, holds one
out to Stern. Stern, of course, declines. Schinder groans.
SCHINDLER
Oh, come on.
He comes over and puts the drink in Stern’s hand, moves
behind his desk and sits.
25.
SCHINDLER
My father was fond of saying you need
three things in life. A good doctor, a
forgiving priest and a clever accountant.
The first two …
He dismisses them with a shrug; he’s never had much use for
either. But the third - he raises his glass to the
accountant. Stern’s glass stays in his lap.
SCHINDLER
(long sufferingly)
Just pretend for Christ’s sake.
Stern slowly raises his glass.
SCHINDLER
Thank you.
Schindler drinks; Stern doesn’t.
36. INT. SCHINDLER’S APARMENT - MORNING 36.
Klonowska, wearing a man’s silk robe, traipses past the
remains of a party to the front door. Opening it reveals a
nice looking, nicely dressed woman.
KLONOWSKA
Yes?
A series of realizations is made by each of them, quickly,
silently, ending up with Klonowska looking ill.
SCHINDLER (O.S.)
Who is it?
37. INT. SCHINDLER’S APARTMENT - MORNING 37.
Schindler sets a cup of coffee down in front of his wife.
Behind him, through a doorway, Klonowska can be seen
hurriedly gathering her things.
26.
SCHINDLER
She’s so embarrassed - look at her -
Emilie begrudges him a glance to the bedroom, catching the
girl just as she looks up - embarrassed.
SCHINDLER
You know what, you’d like her.
EMILIE
Oskar, please -
SCHINDLER
What -
EMILIE
I don’t have to like her just because you
do. It doesn’t work that way.
SCHINDLER
You would, though. That’s what I’m
saying.
His face is complete innocence. It’s the first thing she
fell in love with; and perhaps the thing that keeps her from
killing him now. Klonowska emerges from the bedroom
thoroughly self-conscious.
KLONOWSKA
Goodbye. It was a pleasure meeting you.
She shakes Emilie’s limp hand. Schindler sees her to the
door, lets her out and returns to the table, smiling to
himself. Emilie’s glancing around at the place.
EMILIE
You’ve done well here.
He nods; he’s proud of it. He studies her.
SCHINDLER
You look great.
27.
Ratings
Scene 8 - A Night Out and Uncertain Goodbyes
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
Careful of the pavement -
SCHINDLER
- Mrs. Schindler.
The doorman shoots a glance to Schindler that asks, clearly,
Really? Schindler opens the passenger door of the Mercedes
for his wife, and the doorman helps her in.
39. INT. RESTAURANT - NIGHT 39.
A nice place. “No Jews or Dogs Allowed.” The maitre ‘d
welcomes the couple warmly, shakes Schindler’s hand. Nodding
to his date -
SCHINDLER
Mrs. Schindler.
The maitre ‘d tries to bury his surprise. He’s almost
successful.
40. INT. RESTAURANT - LATER - NIGHT 40.
No fewer than four waiters attend them - refilling a glass,
sliding pastries onto china, lighting Schindler’s cigarette,
raking crumbs from the table with little combs.
EMILIE
It’s not a charade, all this?
SCHINDLER
A charade? How could it be a charade?
She doesn’t know, but she does know him. And all these signs
of apparent success just don’t fit his profile. Schindler
lets her in on a discovery.
28.
SCHINDLER
There’s no way I could have known this
before, but there was always something
missing. In every business I tried, I
see now it wasn’t me that was failing, it
was this thing, this missing thing. Even
if I’d known what it was, there’s nothing
I could have done about it, because you
can’t create this sort of thing. And it
makes all the difference in the world
between success and failure.
He waits for her to guess what the thing is. His looks says,
It’s so simple, how can you not know?
EMILIE
Luck.
SCHINDLER
War.
41. INT. NIGHTCLUB - NIGHT 41.
“Gloomy Sunday” from a combo on a stage. Schindler and
Emilie dancing. Pressed against her - both have had a few -
he can feel her laugh to herself.
SCHINDLER
What?
EMILIE
I feel like an old-fashioned couple. It
feels good.
He smiles, even as his eyes roam the room and find and meet
the eyes of a German girl dancing with another man.
42. INT. SCHINDLER’S APARTMENT - LATER - NIGHT 42.
Schindler and Emilie lounging in bed, champagne bottle on the
nightstand. Long silence before -
29.
EMILIE
Should I stay?
SCHINDLER
(pause)
It’s a beautiful city.
That’s not the answer she’s looking for and he knows it.
EMILIE
Should I stay?
SCHINDLER
(pause)
It’s up to you.
That’s not it either.
EMILIE
No, it’s up to you.
Schindler stares out at the lights of the city. They look
like jewels.
EMILIE
Promise me no doorman or maitre ‘d will
presume I am anyone other than Mrs.
Schindler … and I’ll stay.
He promises her nothing.
43. EXT. TRAIN STATION - DAY 43.
Emilie waves goodbye to him from a first-class compartment
window. Down on the platform, he waves goodbye to her. as
the train pulls away, he turns away, and the platform of the
next track is revealed - soldiers and clerks supervising the
boarding of hundreds of people onto another train - the image
turning BLACK AND WHITE.
30.
CLERKS
Your luggage will follow you. Make sure
it’s clearly labeled. Leave your luggage
on the platform.
44. EXT. D.E.F. LOADING DOCK - DAY 44.
As workers load crates of enamelware onto trucks - back to
COLOR - Stern and Schindler and the dock foreman confer over
an invoice.
More to Stern -
FOREMAN
Every other time it’s been all right.
This time when I weigh the truck, I see
he’s heavy, he’s loaded too much. I point
this out to him, I tell him to wait, he
tells me he’s got a new arrangement with
Mr. Schindler -
(to Schindler)
- that you know all about it and it’s
okay with you.
SCHINDLER
It’s “okay” with me?
On the surface, Schindler remains calm; underneath, he’s
livid. Clearly it’s not “okay” with him.
STERN
How heavy was he?
FOREMAN
Not that much, just too much for it to be
a mistake - 200 kilos.
Stern and Schindler exchange a glance. Then -
SCHINDLER
(pause)
You’re sure.
31.
The foreman nods.
Ratings
Scene 9 - Confrontation and Gratitude
Pfefferberg and Schindler bang in through the front door,
startling a woman at a desk.
WOMAN AT DESK
Can I help you?
They move past her without a word and into the back of the
place, into a storeroom. They stride past long racks full of
enamelware and other goods.
A man glances up, sees them coming. He’s one of Schindler’s
investors, the one who questioned the German’s word. The
man’s teenage sons rush to their father’s defense, but
Pfefferberg grabs him and locks an arm tightly around his
neck.
Silence. Then, calmly -
SCHINDLER
If you or anyone acting as an agent for
you comes to my factory again, I’ll have
you arrested.
INVESTOR
It was a mistake.
SCHINDLER
It was a mistake? What was a mistake?
How do you know what I’m talking about?
INVESTOR
All right, it wasn’t a mistake, but it
was one time.
SCHINDLER
We had a deal, you broke it. One phone
call and your whole family is dead.
32.
He turns and walks away. Pfefferberg lets the guy go and
follows. The investor’s sons help their father up off the
floor. Gasping, he yells.
INVESTOR
I gave you money.
- but Schindler and Pfefferberg are already gone, coming
through the front office and out the front door -
46. EXT. STOREFRONT - CONTINUOUS - DAY 46.
- to the street. Pfefferberg looks a little shaken from the
experience. Schindler straightens his friend’s clothes.
SCHINDLER
How you feeling, all right?
PFEFFERBERG
Yeah.
SCHINDLER
What’s the matter, everything all right
at home?
(Pfefferberg nods)
Mila’s okay?
PFEFFERBERG
She’s good.
Well, then, Schindler can’t imagine what could be wrong. He
pats Pfefferberg on the shoulder and leads him away.
SCHINDLER
Good.
47. INT. FACTORY FLOOR - DAY 47.
The long tables accommodate most of workers. The rest eat
their lunch on the floor. Soup and bread.
33.
48. INT. SCHINDLER’S OFFICE - SAME TIME - DAY 48.
An elegant place setting for one. Meat, vegetables, glass of
wine, all untouched. Schindler leafing through pages of a
report Stern has prepared for him.
SCHINDLER
I could try to read this or I could eat
my lunch while it’s till hot. We’re
doing well?
STERN
Yes.
SCHINDLER
Better this month than last?
STERN
Yes.
SCHINDLER
Any reason to think next month will be
worse?
STERN
The war could end.
No chance of that. Satisfied, Schindler returns the report
to his accountant and starts to eat. Stern knows he is
excused, but looks like he wants to say something more; he
just doesn’t know how to say it.
SCHINDLER
(impatient)
What?
STERN
(pause)
There’s a machinist outside who’d like to
thank you personally for giving him a
job.
Schindler gives his accountant a long-suffering look.
34.
STERN
He asks every day . It’ll just take a
minute. He’s very grateful.
Schindler’s silence says, Is this really necessary? Stern
pretends it’s a tacit okay, goes to the door and pokes his
head out.
STERN
Mr. Lowenstein?
An old man with one arm appears in the doorway and Schindler
glances to the ceiling, to heaven. As the man slowly makes
his way into the room, Schindler sees the bruises on his
face. And when he speaks, only half his mouth moves; the
other half is paralyzed.
LOWENSTEIN
I want to thank you, sir, for giving me
the opportunity to work.
SCHINDLER
You’re welcome, I’m sure you’re doing a
great job.
Schindler shakes the man’s hand perfunctorily and tells Stern
with a look, okay, that’s enough, get him out of here.
LOWENSTEIN
The SS beat me up. They would have
killed me, but I’m essential to the war
effort, thanks to you.
SCHINDLER
That’s great.
LOWENSTEIN
I work hard for you. I’ll continue to
work hard for you.
SCHINDLER
That’s great, thanks.
35.
LOWENSTEIN
God bless you, sir.
SCHINDLER
Yeah, okay.
LOWENSTEIN
You’re a good man.
Schindler is dying, and telling Stern with his eyes, Get this
guy out of here. Stern takes the man’s arm.
STERN
Okay, Mr. Lowenstein.
LOWENSTEIN
He saved my life.
STERN
Yes, he did.
LOWENSTEIN
God bless him.
STERN
Yes.
They disappear out the door. Schindler sits down to his
meal. And tries to eat it.
Ratings
Scene 10 - Frustration and Rejection
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
Don’t ever do that to me again.
STERN
Do what?
Stern knows what he means. And Schindler knows he knows.
36.
SCHINDLER
Close the door.
The driver closes the door.
50. EXT. GHETTO GATE - DAY 50.
Snow on the ground and more coming down. A hundred of
Schindler’s workers marching past the ghetto gate, as is the
custom, under armed guard. Turning onto Zablocie Street,
they’re halted by an SS unit standing around some trucks.
51. EXT. ZABLOCIE STREET - DAY 51.
Shovels scraping at snow. The marchers working to clear it
from the street. A dialog between one of the guards and an
SS officer is interrupted by a shot - and the face of the one-
armed machinist falls into the frame.
52. INT. OFFICE, SS HEADQUARTERS - DAY 52.
Herman Toffel, an SS contact of Schindler’s who he actually
likes, sits behind his desk.
TOFFEL
It’s got nothing to do with reality,
Oskar, I know it and you know it, it’s a
matter of national priority to these
guys. It’s got a ritual significance to
them, Jews shoveling snow.
SCHINDLER
I lost a day of production. I lost a
worker. I expect to be compensated.
TOFFEL
File a grievance with the Economic
Office, it’s your right.
SCHINDLER
Would it do any good?
37.
TOFFEL
No.
Schindler knows it’s not Toffel’s fault, but the whole
situation is maddening to him. He shakes his head in
disgust.
TOFFEL
I think you’re going to have to put up
with a lot of snow shoveling yet.
Schindler gets up, shakes Toffel’s hand, turns to leave.
TOFFEL
A one-armed machinist, Oskar?
SCHINDLER
(right back)
He was a metal press operator, quite
skilled.
Toffel nods, smiles.
53. EXT. FIELD - DAY 53.
From a distance, Stern and Schindler slowly walk a wasteland
that lies between the rear of DEF and two other factories - a
radiator works and a box plant.
Stern’s doing all the talking, in his usual quiet but
persuasive manner. Every so often, Schindler, glancing from
his own factory to the others, nods.
54. INT. SCHINDLER’S OFFICE - DAY 54.
The party pins the two other German businessmen wear are
nothing compared to the elaborate thing in Schindler’s lapel.
He sits at his desk sipping cognac, a large portrait of
Hitler hanging prominently on the wall behind him.
38.
SCHINDLER
Unlike your radiators - and your boxes -
my products aren’t for sale on the open
market. This company has only one
client, the German Army. And lately I’ve
been having trouble fulfilling my
obligations to my client. With your
help, I hope the problem can be solved.
The problem, simply, is space.
Stern, who has been keeping a low profile, hands the
gentlemen each a set of documents.
SCHINDLER
I’d like you to consider a proposal which
I think you’ll find equitable. I’d like
you to think about it and get back to me
as soon as -
KUHNPAST
Excuse me - do you really think this is
appropriate?
The man glances to Stern, and back to Schindler, his look
saying, This is wrong, having a Jew present while we discuss
business. If Schindler catches his meaning, he doesn’t admit
it. Kuhnpast almost sighs.
KUHNPAST
I can appreciate your problem. If I had
any space I could lease you, I would. I
don’t. I’m sorry.
HOHNE
Me neither, sorry.
SCHINDLER
I don’t want to lease your facilities, I
want to buy them. I’m prepared to offer
you fair market value. And to let you
stay on, if you want, as supervisors.
39.
SCHINDLER
(pause)
On salary.
There’s a long stunned silence. The Germans can’t believe
it. After the initial shock wears off, Kuhnpast has to
laugh.
KUHNPAST
You’ve got to be kidding.
Nobody is kidding.
KUHNPAST
(pause)
Thanks for the drink.
He sets it down, gets up. Hohne gets up. They return the
documents to Stern and turn to leave. They aren’t quite out
the door when Schindler wonders out loud to Stern:
SCHINDLER
You try to be fair to people, they walk
out the door; I’ve never understood
that. What’s next?
STERN
Christmas presents.
SCHINDLER
Ah, yes.
The businessmen slow, but don’t look back into the room.
Ratings
Scene 11 - Arrest and Release
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
Oskar …
40.
56. EXT. KUHNPAST’S RADIATOR FACTORY - DAY 56.
Workers high on the side of the building toss down the
letters of the radiator sign as others hoist up a big “D.”
Under armed guard, others unload a metal press machine from a
truck.
57. INT. RADIATOR FACTORY / DEF ANNEX - DAY 57.
Technicians make adjustments to presses already in place.
Others test the new firing ovens. Kuhnpast is being forcibly
removed from the premises.
58. INT. GHETTO EMPLOYMENT OFFICE - DAY 58.
Crowded beyond belief, the place is like a post office gone
mad. Stern, moving along one of the impossibly crowded
lines, pauses to speak with an elderly couple.
59. EXT. PEACE SQUARE - DAY 59.
A hand slaps a blue sticker on a work card. Slap, another.
And another. And another.
60. INT. D.E.F. FRONT OFFICE - DAY 60.
Christmas decorations. Klonowska at her desk, her eyes
closed tight.
SCHINDLER
All right.
She opens her eyes and smiles. Schindler is holding a poodle
in his arms. She comes around to kiss him. He sets the dog
on the desk. Stern, across the room, watches blank-faced.
GESTAPO (O.S.)
Oskar Schindler?
Schindler, Stern and Klonowska turn to the voice. Two
Gestapo men have entered unannounced.
41.
GESTAPO
We have a warrant to take your company’s
business records with us. And another to
take you.
Schindler stares at them in disbelief. Stern quietly slips
one of the ledgers on his desk into a drawer.
SCHINDLER
Am I permitted to have my secretary
cancel my appointments for the day?
He doesn’t wait for their approval. He scribbles down some
names - Toffel, Czurda, Reeder, Scherner. Underlining
Scherner, he glances to Klonowska. She understands.
61. INT. OFFICE, SS HEADQUARTERS, CRACOW - DAY 61.
A humorless middle-level bureaucrat sits behind a desk and
D.E.F.’s ledgers and cashbooks.
GESTAPO CLERK
You live very well.
The man slowly shakes his head ‘no’ to Schindler’s offer of a
cigarette. Schindler tamps it against the crystal of his
gold watch.
GESTAPO CLERK
This standard of living comes entirely
from legitimate sources, I take it?
Schindler lights the cigarette and drags on it, all but
ignoring the man.
GESTAPO CLERK
As an SS supplier, you have a moral
obligation to desist from blackmarket
dealings. You’re in business to support
the war effort, not to fatten -
42.
SCHINDLER
(interrupting)
You know? When my friends ask, I’d love
to be able to tell them you treated me
with the utmost courtesy and respect.
The quiet matter-of-fact tone, more than the comment itself,
throws the bureaucrat off his rhythm. His eyes narrow
slightly. There’s a long silence.
62. INT. HALLWAY/ROOM - SS HEADQUARTERS - DAY 62.
The two who arrested him lead Schindler down a long hallway.
They reach a door, have him step inside and close the door
after him.
63. INT. SS “CELL” - EVENING 63.
Schindler knocks on the inside of the door. A Waffen SS man
opens it. The “prisoner” peels several bills from a thick
wad.
SCHINDLER
Chances of getting a bottle of vodka
pretty good?
He hands the young guard five times the going price.
WAFFEN GUARD
Yes, sir.
The guard turns to leave.
SCHINDLER
Wait a minute.
He peels off several more bills and hands them over.
SCHINDLER
Pajamas.
43.
64. INT. SS “CELL” - MORNING 64.
Perched on the side of the bed in pajamas, Schindler works on
a breakfast of herring and eggs, cheeses, rolls and coffee.
Someone has also brought him a newspaper. There’s an
apologetic knock on the door before it opens.
GUARD
I’m sorry to disturb you, sir. Whenever
you’re ready, you’re free to leave.
65. INT. FOYER, SS HEADQUARTERS - MORNING 65.
Schindler, the Gestapo clerk and one of the arresting
officers cross the foyer.
GESTAPO CLERK
I’d advise you not to get too
comfortable. Sooner or later, law
prevails. No matter who your friends
are.
Schindler ignores the man completely. Reaching the front
doors, the clerk turns over the D.E.F. records to their owner
and offers his hand. Schindler lets it hang there.
SCHINDLER
You expect me to walk home, or what?
GESTAPO CLERK
(tightly)
Bring a car around for Mr. Schindler.
Ratings
Scene 12 - Schindler's Attempt to Save Stern
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
him.
44.
SCHINDLER
If you’d return the ledgers to my office
I’d appreciate it.
There are no less than forty able-bodied Jewish laborers
working on the docks, any one of which would be better suited
to the task. The Gestapo man calls to one of them.
SCHINDLER
Excuse me - hey -
(the guy turns)
They’re working.
The guy just stares. Finally he heads off with the ledgers.
The poodle bounds out past him and over to Schindler. He
gives the dog a pat on the head.
67. EXT. SCHINDLER’S BUILDING - EVENING 67.
Elegantly dressed for a night out, Schindler and Klonowska
emerge from the building. As they’re escorted to the waiting
car, Schindler hesitates. A nervous figure in the shadows of
an alcove is gesturing to him, beckoning him.
Schindler excuses himself. Klonowska watches as he joins the
man in the alcove. Their whispered conversation is over
quickly and the man hurries off.
68. EXT. PROKOCIM DEPOT - CRACOW - LATER - NIGHT 68.
From the locomotive, looking back, the string of splattered
livestock carriages stretches into darkness. There’s a lot
of activity on the platform.
Guards mill. Handcards piled with luggage trundle by.
People hand up children to others already in the cars and
climb aboard after them. The clerks are out in full force
with their lists and clipboards, reminding the travelers to
label their suitcases.
Climbing from his Mercedes, Schindler stares. He’s heard of
this, but actually seeing the juxtaposition - human and
cattle cars - this is something else.
45.
Recovering, he tells Klonowska to stay in the car and, moving
along the side of the train, calls Stern’s name to the faces
peering out from behind the slats and barbed wire.
AN ENORMOUS LIST OF NAMES -
- several pages-worth on a clipboard; a Gestapo clerk
methodically leafing through them.
SCHINDLER (0.S.)
He’s essential. Without him, everything
comes to a grinding halt. If that
happens -
CLERK
Itzhak Stern?
(Schindler nods)
He’s on the list.
SCHINDLER
He is.
The clerk shows him the list, points out the name to him.
SCHINDLER
Well, let’s find him.
CLERK
He’s on the list. If he were an
essential worker, he would not be on the
list. He’s on the list. You can’t have
him.
SCHINDLER
I’m talking to a clerk.
Schindler pulls out a small notepad and drops his voice to a
hard murmur, the growl of a reasonable man who isn’t ready -
yet - to bring out his heavy guns:
SCHINDLER
What’s your name?
46.
CLERK
Sir, the list is correct.
SCHINDLER
I didn’t ask you about the list, I asked
you your name.
CLERK
Klaus Tauber.
As Schindler writes it down, the clerk has second thoughts
and calls to a superior, an SS sergeant, who comes over.
CLERK
The gentleman thinks a mistake’s been
made.
SCHINDLER
My plant manager is somewhere on this
train. If it leaves with him on it, it’ll
disrupt production and the Armaments
Board will want to know why.
The sergeant takes a good hard look at the clothes, at the
pin, at the man wearing them.
SERGEANT
(to the clerk)
Is he on the list?
CLERK
Yes, sir.
SERGEANT
(to Schindler)
The list is correct, sir. There’s
nothing I can do.
SCHINDLER
May as well get your name while you’re
here.
47.
SERGEANT
My name? My name is Kunder. Sergeant
Kunder. What’s yours?
SCHINDLER
Schindler.
The sergeant takes out a pad. Now all three of them have
lists. He jots down Schindler’s name. Schindler jots down
his and flips the pad closed.
SCHINDLER
Sergeant, Mr. Tauber, thank you very
much. I think I can guarantee you you’ll
both be in Southern Russia before the end
of the month. Good evening.
He walks away, back toward his car. The clerk and sergeant
smile. But slowly, slowly, the smiles sour at the
possibility that this man calmly walking away from them could
somehow arrange such a fate …
ALL THREE OF THEM -
- Schindler, the clerk and the sergeant - stride along the
side of the cars. Two of them are calling out loudly -
CLERK & SERGEANT
Stern! Itzhak Stern!
Soon it seems as if everybody except Schindler is yelling out
the name. As they reach the last few cars, the accountant’s
face appears through the slats.
SCHINDLER
There he is.
SERGEANT
Open it.
Guards yank at a lever, slide the gate open. Stern climbs
down. The clerk draws a line through his name on the list
and hands the clipboard to Schindler.
48.
CLERK
Initial it, please.
(Schindler initials the change)
And this …
As Schindler signs three or four forms, the guards slide the
carriage gate closed. Those left inside seem grateful for
the extra space.
CLERK
It makes no difference to us, you
understand - this one, that one. It’s
the inconvenience to the list. It’s the
paperwork.
Schindler returns the clipboard. The sergeant motions to
another who motions to the engineer. As the train pulls out,
Stern tries to keep up with Schindler who’s striding away.
STERN
I somehow left my work card at home. I
tried to tell them it was a mistake, but
they -
Schindler silences him with a look. He’s livid. Stern
glances down at the ground.
STERN
I’m sorry. It was stupid.
(contrite)
Thank you.
Schindler turns away and heads for the car. Stern hurries
after him. They pass an area where all the luggage,
carefully tagged, has been left - the image becoming BLACK
and WHITE.
Ratings
Scene 13 - Sorting Jewelry and Touring the Ghetto
Mechanics’ hood-lamps throw down pools of light through which
me wheel handcarts piled high with suitcases, briefcases,
steamer trunks - BLACK and WHITE.
49.
Moving along with one of the handcarts into a huge garage
past racks of clothes, each item tagged, past musical
instruments, furniture, paintings, against one wall -
children’s toys, sorted by size.
The cart stops. A valise is handed to someone who dumps and
sorts the contents on a greasy table. The jewelry is taken
to another area, to a pit, one of two deep lubrication bays
filled with watches, bracelets, necklaces, candelabra,
Passover platters, gold in one, silver the other, and tossed
in.
At workbenches, four Jewish jewelers under SS guard sift and
sort and weigh and grade diamonds, pearls, pendants, brooches
children’s rings - faltering only once, when a uniformed
figure upends a box, spilling out gold teeth smeared with
blood - the image saturating with COLOR.
70. EXT. COUNTRYSIDE - DAY 70.
Fractured gravestones like broken teeth jut from the earth of
a neglected Jewish cemetery outside of town. Down the road
that runs alongside it comes a German staff car.
71. INT. STAFF CAR - MOVING - DAY 71.
In the backseat, Untersturmfuhrer Amon Goeth pulls on a flask
of schnapps. His age and build are about that of
Schindler’s; his face open and pleasant.
GOETH
Make a nice driveway.
The other SS officers in the car - Knude, Haase and Hujar -
aren’t sure what he means. He’s peering out the window at
the tombstones.
72. EXT. GHETTO - DAY 72.
The staff car passes through the portals of the ghetto and
down the trolley lines of Lwowska Street.
50.
73. INT. STAFF CAR - MOVING - DAY 73.
As the car slowly cruises through the ghetto, Knude, like a
tour guide, briefs the new man, Goeth -
KNUDE
This street divides the ghetto just about
in half. On the right - Ghetto A: civil
employees, industry workers, so on. On
the left, Ghetto B: surplus labor, the
elderly mostly. Which is where you’ll
probably want to start.
The look Goeth gives Knude tells him to refrain, if he would,
from offering tactical opinions.
KNUDE
Of course that’s entirely up to you.
Ratings
Scene 14 - Brutal Order
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.
There’s a great deal of activity. New construction and
renovation - foundations being poured, rail tracks being
laid, fences and watchtowers going up, heavy segments of huts
- wall panels, eaves sections - being dragged uphill by teams
of bescarved women like some ancient Egyptian industry.
Goeth surveys the site from a knoll, clearly pleased with it.
But then he’s distracted by voices - a man’s, a woman’s -
arguing down where some barracks are being erected.
The woman breaks off the dialog with a disgusted wave of her
hand and stalks back to a half-finished barracks. The man,
one from the car, Hujar, sees Goeth, Knude and Haase coming
down the hill and moves to meet them.
51.
HUJAR
She says the foundation was poured wrong,
she’s got to take it down. I told her
it’s a barracks, not a fucking hotel,
fucking Jew engineer.
Goeth watches the woman moving around the shell of the
building, pointing, directing, telling the workers to take it
all down. he goes to take a closer look. She comes over.
ENGINEER
The entire foundation has to be dug up
and repoured. If it isn’t, the thing
will collapse before it’s even completed.
Goeth considers the foundation as if he knew about such
things. He nods pensively. Then turns to Hujar.
GOETH
(calmly)
Shoot her.
It’s hard to tell which is more stunned by the order, the
woman or Hujar. Both stare at Goeth in disbelief. He gives
her the reason along with a shrug -
GOETH
You argued with my man.
(to Hujar)
Shoot her.
Hujar unholsters his pistol but holds it limply at his side.
The workers become aware of what’s happening and still their
hammers.
HUJAR
Sir…
Goeth groans and takes the gun from him and puts it to the
woman’s head. Calmly to her -
GOETH
I’m sure you’re right.
52.
He fires. She crumples to the ground. He returns the gun to
his stunned inferior and, gesturing down at the body,
addresses the workers.
GOETH
That’s somebody who knew what they were
doing. That’s somebody I needed.
(pause)
Take it down, repour it, rebuild it, like
she said.
He turns and walks away.
Ratings
Scene 15 - Dawn in Cracow
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.
In addition to the exhaust from idling trucks and the curling
smoke from the Sonderkommando units’ cigarettes, there is
excitement in the chilly pre-dawn air.
77. EXT. GHETTO - DAWN 77.
An empty street. Rooftops against a lightening sky. A few
of the windows in the buildings are lighted, glowing amber;
the majority are still dark.
78. EXT. STABLES - DAWN 78.
The stable boys hoist saddles onto the horses, cinch the
straps. Leaning against the hood of the Mercedes, Schindler
and Ingrid, in long hacking jackets, riding breeches and
boots, share cognac from his flask.
53.
79. EXT. PARK, CRACOW - DAWN 79.
Untersturmfuhrer Goeth, soon to be Commandant Goeth, stands
before the assembled troops with a flask of cognac in his
hand. He looks out over them proudly; they’re good boys,
these, the best. He addresses them -
GOETH
Today is history. The young will ask
with wonder about this day Today is
history and you are a part of it.
80. EXT. PEACE SQUARE, GHETTO - DAWN 80.
A fourteen year old kid hurries across to the square pulling
on his O.D. armband. Several others of the Jewish Ghetto
Police, Golberg among them, are already assembled there. The
clerks, the list makers, scissor open their folding tables,
set out their ink pads and stamps.
GOETH (V.O.)
When, elsewhere, they were footing the
blame for the Black Death, Kazimierz the
Great, so called, told the Jews they
could come to Cracow. They came.
81. EXT. STABLES - DAWN 81.
Ingrid climbs onto one of the horses, Schindler onto the
other. As the animals gallop away with their riders toward a
wood, the stable boys wave.
GOETH (V.O.)
They trundled their belongings into this
city, they settled, they took hold, they
prospered.
82. EXT. PARK, CRACOW - DAWN 82.
The fresh young faces of the Sonderkommandos, listening to
their commander.
54.
GOETH
For six centuries, there has been a
Jewish Cracow.
83. EXT. WOODS - DAWN 83.
The horses panting hard. Their hoofs hammering at the
ground, climbing a hill. Riding boots kicking at their
flanks.
84. EXT. PARK, CRACOW - DAWN 84.
The boots of Amon Goeth slowly pacing. He stops. Tight on
his face, smiling pleasantly.
GOETH
By this weekend, those six centuries,
they’re a rumor. They never happened.
Today is history.
85. EXT. HILLTOP CLEARING - DAWN 85.
The galloping horses break through to a clearing high on a
hill. The riders pull in the reins and the hoofs rip at the
earth.
Schindler smiles at the view, the beauty of it with the sun
just coming up. From here, all of Cracow can be seen in
striking relief, like a model of a town.
He can see the Vistula, the river that separates the ghetto
from Kazimierz; Wawel Castle, from where the National
Socialist Party’s Hans Frank rules the Government General of
Poland; beyond it, the center of town.
He begins to notice refinements: the walls that define the
ghetto; Peace Square, the assembly of men and boys. He
notices a line of trucks rolling east across the Kosciuscko
Bridge, and another across the bridge at Podgorze, a third
along Zablocie Street, all angling in on the ghetto like
spokes to a hub.
55.
Ratings
Scene 16 - The Violent Evacuation
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
allowed to pack is answered with a rifle butt; an unannounced
move to a desk drawer is countered with a shot.
87. EXT. STREETS, GHETTO - DAWN 87.
Spilling out of the buildings, they’re herded into lines
without regard to family consideration; some other
unfathomable system is at work here. The wailing protests of
a woman to join her husband’s line are abruptly cut off by a
short burst of gunfire.
88. EXT. HILLTOP - DAWN 88.
From here, the action down below seems staged, unreal; the
rifle bursts no louder than caps. Dismounting, Schindler
moves closer to the edge of the hill, curious.
His attention is drawn to a small distant figure, all in red,
at the rear of one of the many columns.
89. EXT. STREET - DAWN 89.
Small red shoes against a forest of gleaming black boots. A
Waffen SS man occasionally corrects the little girl’s drift,
fraternally it seems, nudging her gently back in line with
the barrel of his rifle. A volley of shots echoes from up
the street.
90. EXT. HILLTOP - DAWN 90.
Schindler watches as the girl slowly wanders away unnoticed
by the SS. Against the grays of the buildings and street
she’s like a moving red target.
56.
91. EXT. STREET - DAWN 91.
A truck thundering down the street obscures her for a moment.
Then she’s moving past a pile of bodies, old people executed
in the street.
92. EXT. HILLTOP - DAWN 92.
Schindler watches: she’s so conspicuous, yet she keeps moving
- past crowds, past dogs, past trucks - as though she were
invisible.
93. EXT. STREET - DAWN 93.
Patients in white gowns, and doctors and nurses in white, are
herded out the doors of a convalescent hospital. The small
figure in red moves past them. Shots explode behind her.
94. EXT. HILLTOP - DAWN 94.
Short bursts of light flash throughout the ghetto like stars.
Schindler, fixated on the figure in red, loses sight of her
as she turns a corner.
95. INT. APARTMENT BUILDING - DAWN 95.
She climbs the stairs. The building is empty. She steps
inside an apartment and moves through it. It’s been
ransacked. As she crawls under the bed, the scene DRAINS of
COLOR.
The gunfire outside sounds like firecrackers.
96. EXT. HILLTOP - NIGHT 96.
NIGHT Silence. Schindler and Ingrid are gone.
Below, the ghetto lies like a void within the city, its
perimeter and interior clearly distinguishable by darkness.
Outside it, the lights of the rest of Cracow glimmer.
57.
97. INT. D.E.F. FACTORY - NIGHT 97.
Tables and tools and enamelware scrap. The metal presses and
lathes, still. The firing ovens, cold. The gauges at zero.
Against the wall of windows overlooking the empty factory
floor stands a figure, Schindler, in silhouette against the
glass, black against white, not moving, just staring down.
98. EXT. FOREST - PLASZOW - MORNING 98.
Bloody wheelbarrows, stark against the tree line of a forest
above the completed forced labor camp, PLASZOW.
99. EXT. PLASZOW FORCED LABOR CAMP - MORNING 99.
Names on lists. Names called out. Tight on faces.
Goldberg at one of several folding tables. The gangster-
turned-ghetto-cop is now the Lord of Lists inside Plaszow.
He and other listmakers call out names, accounting for those
thousands who survived the liquidation of the ghetto and now
stand before them in long straight rows.
100. INT. GOETH’S BEDROOM, PLASZOW - MORNING 100.
Amon Goeth stirs, wakes, glances at the woman asleep beside
him. Hungover, he drags himself slowly out of bed.
101. EXT. GOETH’S BALCONY - MOMENTS LATER - 101.
MORNING.
Goeth steps out onto the balcony in his undershirt and shorts
and peers out across the labor camp, his labor camp, his
kingdom. Satisfied with it, even amazed, he’s reminiscent of
Schindler looking down on his kingdom, his factory, as he
loves to do, from his wall of glass.
Life is great. Goeth reaches for a rifle.
58.
Ratings
Scene 17 - Tension and Amusement at Plaszow Quarry Camp
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
on a slight rise in the dry landscape.
104. EXT. GOETH’S BALCONY - CONTINUED - MORNING 104.
The butt of the rifle against his shoulder, Goeth aims down
at the quarry - at this worker, at that one -
indiscriminately, inscrutably. He fires a shot and a distant
figure falls.
105. INT. GOETH’S BEDROOM - SAME TIME - MORNING 105.
The woman in bed groans at the echoing shot. She’s used to
it but she still hates it; it’s such an awful way to be
woken.
MAJOLA
(mutters)
Amon … Christ …
She buries her head under a pillow. Goeth reappears. He
pads to his bathroom, goes inside and urinates.
106. EXT. PLASZOW - DAY 106.
Schindler’s Mercedes winds through the camp, past warehouses
and workshops, trucks full of furs and furniture, work
details, barracks, guard blocks. A man standing alone wears
a sign around his neck - “I am a potato thief.”
107. EXT. GOETH’S VILLA - PLASZOW - DAY 107.
The Mercedes pulls in next to some other nice cars parked on
a driveway made of tombstones from the Jewish cemetery.
59.
108. EXT. PATIO, GOETH’S VILLA - DAY 108.
A patio table set with crystal, china, silver. Goeth and
Hujar are there, in pressed SS uniforms, and two
industrialists, Bosch and Madritsch. One chair is empty.
HUJAR
Your machinery will be moved and
installed by the SS at no cost to you.
You will pay no rent, no maintenance -
Hujar glances off, interrupted by Schindler’s arrival.
Although he’s never been here, the industrialist comes in
like he owns the place. All but Goeth rise.
SCHINDLER
No, no, come on, sit -
He works his way around the table, patting Bosch and
Madritsch on the back - he knows them - shaking Hujar’s hand,
who he doesn’t know. He reaches Goeth.
SCHINDLER
How you doing?
Goeth takes a good long look at the handsomely dressed
entrepreneur and allows him to shake his hand.
GOETH
We started without you.
SCHINDLER
Good.
Schindler takes a seat, shakes a napkin onto his lap, nods to
the servant holding out a bottle of champagne to him.
SCHINDLER
Please.
Goeth watches him. The others watch Goeth.
60.
SCHINDLER
I miss anything important?
HUJAR
I was explaining to Mr. Bosch and Mr.
Madritsch some of the benefits of moving
their factories into Plaszow.
SCHINDLER
Oh, good, yeah.
Schindler clearly doesn’t care, but nods as though he did.
He drinks. Goeth just watches him with what seems to be
growing amusement. He nods to Hujar to continue.
HUJAR
Since your labor is housed on-site, it’s
available to you at all times. You can
work them all night if you want. Your
factory policies, whatever they’ve been
in the past, they’ll continue to be,
they’ll be respected -
Schindler laughs out loud, cutting Hujar off. Hujar glances
over to Goeth nonplussed.
SCHINDLER
I’m sorry.
He’s not sorry at all, and starts in on the plate of food
that’s set down in front of him.
GOETH
You know, they told me you were going to
be trouble - Czurda and Scherner.
SCHINDLER
You’re kidding.
Goeth slowly shakes his head no … then smiles.
61.
GOETH
He looks great, though, doesn’t he? I
have to know - where do you get a suit
like that? what is that, silk?
(Schindler nods)
It’s great.
SCHINDLER
I’d say I’d get you one but the guy who
made it, he’s probably dead, I don’t
know.
He shrugs like, those are the breaks, too bad. Goeth just
smiles. The others watch the two of them, unsure how they’re
supposed to react.
Ratings
Scene 18 - Duty and Financial Opportunity
The others have gone. It’s just Goeth and Schindler now.
Goeth pours glasses of cognac.
GOETH
Something wonderful’s happened, do you
know what it is? Without planning it,
we’ve reached that happy point in our
careers where duty and financial
opportunity meet.
Schindler nods pensively, perhaps in agreement, perhaps at
some other thought. There’s a silence, broken finally by -
SCHINDLER
I go to work the other day, there’s
nobody there. Nobody tells me about
this, I have to find out, I have to go
in, everybody’s gone -
GOETH
They’re not gone, they’re here.
SCHINDLER
They’re mine!
62.
His voice echoes into silence. An acquiescent shrug from
Goeth finally. And a nod; Schindler’s right.
SCHINDLER
Every day that goes by, I’m losing money.
Every worker that is shot, costs me money
- I have to get somebody else, I have to
train them -
GOETH
We’re going to be making so much money,
none of this is going to matter -
SCHINDLER
(cutting him off)
It’s bad business.
GOETH
(shrugs)
Some of the boys went crazy, what’re you
going to do? You’re right, it’s bad
business, but it’s over with, it’s done.
(pause)
Occasionally, sure, okay, you got to make
an example. But that’s good business.
Schindler pours himself another shot from the bottle, nurses
it. He’s in a foul mood. They study each other, trying to
determine perhaps who’s more powerful. Eventually -
GOETH
Scherner told me something else about
you.
SCHINDLER
Yeah, what’s that?
GOETH
That you know the meaning of the word
gratitude. That it’s not some vague
thing with you like with some guys.
63.
SCHINDLER
True.
Goeth tries to put the situation in perspective:
GOETH
You want to stay where you are. You got
things going on the side, things are
good, you don’t want anybody telling you
what to do - I can understand all that.
(pause)
What you want is your own sub-camp.
Schindler admits it by not disagreeing. Goeth thinks about
it, nods to himself again, then frowns.
GOETH
Do you have any idea what’s involved? The
paperwork alone? Forget you got to build
it all, getting the fucking permits,
that’s enough to drive you crazy. Then
the engineers show up. They stand around
and they argue about drainage - I’m
telling you, you’ll want to shoot
somebody, I’ve been through it, I know.
SCHINDLER
Well, you’ve been through it. You know.
You could make things easier for me.
Goeth mulls it over, his shrug saying “maybe, maybe not.” A
silence before -
SCHINDLER
I’d be grateful.
There’s the word Goeth was waiting to hear.
Ratings
Scene 19 - Increasing Security Measures
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.
111. EXT. D.E.F. SUBCAMP SITE - DAY 111.
A watchtower, half-erected, the little flag still in the
ground. Laborers hammer at it while others roll out barbed
wire fencing. A surveyor supervises the placement of a post
and carefully measures its heights; it has to be nine feet,
exactly.
At a folding table in the middle of the field, Schindler
signs checks made out to the Construction Office, Plaszow -
requisitioning more lumber, cement and hardware.
112. EXT. CONSTRUCTION OFFICE, PLASZOW - DAY 112.
Plaszow prisoners load the requisitioned building supplies -
the lumber, cement and hardware - onto trucks.
113. EXT/INT. WAREHOUSE, CRACOW - DAY 113.
The trucks parked not at Schindler’s sub-camp, but at the
loading dock of Goeth’s private warehouse in Cracow. Inside
the building can be glimpsed all kinds of Plaszow goods:
clothes, food, construction equipment, furniture.
Checkbook laid out on the hood of his Mercedes, Schindler
pays for the requested materials a second time - this time
with a check made out to Amon Goeth personally - and hands it
over to his bagman, Hujar.
114. EXT. D.E.F. SUBCAMP FIELD - DAY 114.
Some SS architects groan over a set of blueprints. Schindler
and an SS officer walk by.
SS OFFICER
You have the Poles beat the Czechs, you
have the Czechs beat the Poles, that way
everybody stays in line.
SCHINDLER
All I have is Jews.
65.
He shrugs, Too bad, what’re you going to do? The SS guy has
to think. Yeah, that’s a problem. Two huge leashed dogs
yank another SS man across their path.
115. EXT. D.E.F. - DAY 115.
As five hundred Plaszow prisoners are marched back onto the
grounds of D.E.F., any hope they may have had of a more
lenient environment is quickly dashed. The place - completed
- looks like a fortress: barbed-wire, towers, SS guards and
dogs.
116. INT. D.E.F. FACTORY - DAY 116.
Where once they glimpsed the not too threatening figure of
Oskar Schindler strolling through the factory, the workers
who dare glance up now find armed guards moving past. And
further up, behind the wall of windows, Schindler moving
around, entertaining SS officer.
Ratings
Scene 20 - Schindler Helps Leo and Confronts Goeth
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.
LEO JOHN
- she’s seventy years old, she’s been
there forever - they bomb her house.
Everything’s gone. The furniture,
everything.
SCHINDLER
(well aware the man
is lying)
Thank God she wasn’t there.
Schindler, with yet another girl on his arm, endures the
officer’s lies while sweeping the room with his eyes.
66.
LEO JOHN
I was thinking maybe you could help her
out. Some plates and mugs, some stew
pots, I don’t know. Say half a gross of
everything?
Schindler looks at him for the first time, knowingly.
SCHINDLER
She run an orphanage, your aunt?
LEO JOHN
She’s old. What she can’t use maybe she
can sell.
Schindler’s girl excuses herself to get a drink.
SCHINDLER
You want it sent directly to her or
through you?
LEO JOHN
Through me, I think. I’d like to enclose
a card.
Schindler nods, Done. Both watch his date across the room
getting a drink. As usual, she’s the best-looking on there.
LEO JOHN
Your wife must be a saint.
Whatever tolerance Schindler’s had up to this point with John
leaves his face; the looks he gives him now is pure contempt.
SCHINDLER
She is.
118. INT. GOETH’S VILLA - LATER - NIGHT 118.
Goeth’s girl tonight, a Pole, eighteen, nineteen, places a
hand on Schindler’s sleeve. They’re at the important end of
the large table with Goeth, along with Czurda and Leo John
and their girlfriends.
67.
GOETH’S GIRL
You’re not a soldier?
SCHINDLER
No, dear.
CZURDA
There’s a picture. Private Schindler?
Blanket around his shoulders over in
Kharkov?
Everyone laughs.
GOETH
Happened to what’s his name - up in
Warsaw - and he was bigger than you,
Oskar.
CZURDA
Toebbens.
GOETH
Happened to Toebbens. Almost. Himmler
goes up to Warsaw, tells the armament
guys, “Get the fucking Jews out of
Toebbens’ factory and put Toebbens in the
army,” and - “and sent him to the Front.”
I mean, the Front.
Everybody laughs.
GOETH
It’s true. Never happen in Cracow,
though, we all love you too much.
SCHINDLER
I pay you too much.
Another round of laughs, only this time it’s forced.
Everybody knows it’s true, but you don’t say it out loud, and
Schindler knows better. Goeth gives him a look; they’ll talk
later.
68.
119. EXT. GOETH’S VILLA - LATER - NIGHT 119.
Goeth finds Schindler alone outside smoking a cigarette.
Schindler acknowledges him, but that’s about it. Finally -
SCHINDLER
You held back Stern. You held back the
one man most important to my business.
GOETH
He’s important to my business.
SCHINDLER
What do you want for him, I’ll give it to
you.
GOETH
I want him.
(turning back)
Come on, let’s go inside, let’s have a
good time.
Goeth heads back inside. Schindler stays outside, finishing
his cigarette.
120. EXT. PLASZOW - LATER - NIGHT 120.
A folding table outside the prisoners’ barracks. At it,
playing cards, two night sentries. A figure appears out of
the darkness. Schindler. He sets down on the table a fifth
of vodka.
121. EXT. BARRACKS - LATER - NIGHT 121.
Stern, summoned from his barracks, watches as Schindler digs
through his coat pockets. Nearby, at the table, drinking
now, the sentries. From the hill, the villa, the Rosners’
music, faint, can be heard.
SCHINDLER
Here.
69.
He discreetly hands over to the accountant some cigars
scavenged from the party. From another pocket, he retrieves
and hands over some tins of food - all valuable commodities.
From another pocket, perhaps not so valuable, but then who
knows, a gold lighter. Regarding this last item -
SCHINDLER
This, I don’t know, maybe you can trade
it for something.
STERN
Thank you.
Schindler shrugs, It’s the least I can do. The two stand
around a moment more before Schindler shrugs again, Sorry I
can’t do more. He reaches out, pats Stern on the shoulder,
and, turning to leave.
SCHINDLER
I got to go, I’ll see you.
STERN
Oskar -
Schindler comes back, but, out of embarrassment or - maybe he
wants to get back to the party - waits with some impatience
for Stern to tell whatever it is he wants to tell him.
Lowering his voice -
STERN
There’s a guy. This thing happened.
Goeth came into the metalworks -
CUT TO:
Ratings
Scene 21 - Sadistic Behavior and Distractions
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
particular bench, a particular worker, and Goeth smiles
pleasantly.
70.
GOETH
What are you making?
Not daring to look up, all the worker sees of Goeth is the
starched cuff of his shirt.
LEVARTOV
Hinges, sir.
The rabbi-turned-metalworker gestures with his head to a pile
of hinges on the floor. Goeth nods. And in a tone more like
a friend than anything else -
GOETH
I got some workers coming in tomorrow …
Where the hell they from again?
GOLDBERG
Yugoslavia.
GOETH
Yugoslavia. I got to make room.
He shrugs apologetically and pulls out a pocket watch.
GOETH
Make me a hinge.
As Goeth times him, Rabbi Levartov works at making a hinge as
though his life depended on it - which it does - cutting the
pieces, wrenching them together, smoothing the edges, all the
while keeping count on his head of the seconds ticking away.
He finishes and lets it fall onto the others on the floor.
Forty seconds.
GOETH
Another.
Again the rabbi works feverishly - cutting, crimping,
sanding, hearing the seconds ticking in his head - and
finishing in thirty-five. Goeth nods, impressed.
71.
GOETH
That’s very good. What I don’t
understand, though, is - you’ve been
working since what, about six this
morning? Yet such a small pile of
hinges?
He understands perfectly. So does Levartov; he has just
crafted his own death in exactly 75 seconds. Goeth stands
him against the workshop wall and adjusts his shoulders. He
pulls out his pistol, puts it to the rabbi’s head and pulls
the trigger … click.
GOETH
(mumble)
Christ -
Annoyed, Goeth extracts the bullet-magazine, slaps it back in
and puts the barrel back to the man’s head. He pulls the
trigger again … and again there’s a click.
GOETH
God damn it -
He slams the weapon across Levartov’s face and the rabbi
slumps dazed to the floor. Looking up into Goeth’s face, he
knows it’s not over. As Goeth walks away -
CUT BACK TO:
123. EXT. BARRACKS - CONTINUED - NIGHT 123.
Tight on Schindler, a pensive nod, then a shrug.
SCHINDLER
The guy can turn out a hinge in less than
a minute? Why the long story?
124. INT. D.E.F. - DAY 124.
Rabbi Levartov, brought over to D.E.F., works at a table with
several others. As Schindler strolls by, the rabbi dares to
speak -
72.
LEVARTOV
Thank you, sir.
Schindler has to think a moment before he can figure out who
the grateful man is.
SCHINDLER
Oh, yeah. You’re welcome.
125. EXT. PLASZOW - DAY 125.
A dead chicken dangling from Hujar’s hand, evidence of some
kind. Goeth slowly pacing before a work detail of twenty or
so men standing still, silent, in a row.
GOETH
Nobody knows who stole the chicken. A man
walks around with a chicken, nobody
notices this.
No one confesses. Goeth nods, All right, takes a rifle from
a guard and shoots one of the workers at random. With this
added incentive, he waits for someone to tell him who stole
the chicken. No one does.
GOETH
Still nobody knows.
He shrugs, Okay, points the rifle at another worker - and a
boy of fourteen, shuddering and weeping, steps out of line.
GOETH
There we go.
Goeth goes over to the boy, and, like a distant relative to a
small child, tries to get him to look at his face.
GOETH
It was you? You committed this crime?
BOY
No, sir.
73.
GOETH
You know who, though.
The boy nods, weeps, screams -
BOY
Him!
He’s pointing at the dead man. And Goeth astonishes the
entire assembly of workers and guards by believing the boy.
He returns the rifle to the guard and walks away. Hujar
stares after him, then knowingly at the boy.
126. EXT. PLASZOW - DAY 126.
A truck being loaded with supplies. Schindler signs for it
and, appearing as rushed as he always does, returns the
clipboard to Stern.
SCHINDLER
Yeah, sure, bring him over.
127. INT. D.E.F. - DAY 127.
Schindler comes down the stairs with Klonowska. As they’re
crossing through the factory -
BOY
Thank you, sir.
SCHINDLER
(distracted)
That’s okay.
128. INT. MECHANICS’ GARAGE - PLASZOW - DAY 128.
A mechanic peering under the hood of Goeth’s Adler. Leaning
in he accidentally knocks a wrench off the radiator into the
fan and there’s an awful clatter before the engine dies. The
mechanic glances up horrified.
74.
129. EXT. GOETH’S VILLA - DAY 129.
As servants hoist a heavy, elaborately tooled saddle from
Schindler’s trunk - a gift for Goeth - Schindler sees Stern
coming toward him and glances skyward long-sufferingly.
130. INT. D.E.F. - DAY 130.
The mechanic, making adjustments to a metal press, glances up
as Schindler moves past.
MECHANIC
Thank -
SCHINDLER
Yeah, yeah, yeah.
131. EXT. D.E.F. FACTORY - DAY 131.
Across the street stands a nervous young woman in a faded
dress. She seems to be trying to summon the courage to cross
over and onto the factory grounds.
132. INT. D.E.F. FACTORY - DAY 132.
Just inside the factory, she waits as a guard telephones
Schindler’s office. She can see the wall of windows from
where she’s standing, and Schindler himself as he appears at
it, phone to his ear. He glances down at her disapprovingly
and the guard hangs up.
GUARD
He won’t see you.
133. INT. APARTMENT - CRACOW - DAY 133.
The woman alone in a dismal room pulling on nylon stockings.
At a mirror, she applies make-up. She slips into a
provocative dress. Puts on heels. A Parisian hat. And
looks in the mirror.
75.
Ratings
Scene 22 - Refusal and Concerns
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.
SCHINDLER
Miss Krause.
MISS KRAUSE
How do you do?
He can tell now she doesn’t know him. He seems relieved. He
leads her past Klonowska’s desk and into his office.
135. INT. SCHINDLER’S OFFICE - DAY 135.
He arranges a chair for her, goes to his liquor cabinet.
SCHINDLER
Pernod? Cognac?
MISS KRAUSE
No, thank you.
He pours himself a drink, warms it in his hands, smiles,
clearly take with her.
SCHINDLER
So.
The grace with which she’s carried herself up to this point
seems to evaporate as she struggles to find the words she
wants.
MISS KRAUSE
They say that no one dies here. They say
your factory is a haven. They say you are
good.
76.
Schindler’s face changes like a wall going up, a mask of
indifference like in the portrait of Adolf Hitler on the wall
behind him.
SCHINDLER
Who says that?
MISS KRAUSE
Everyone.
Schindler glances away from her. He seems weary suddenly,
depressed.
MISS KRAUSE
My name is Regina Perlman, not Elsa
Krause. I’ve been living in Cracow on
false papers since the ghetto massacre.
(pause)
My parents are in Plaszow. They’re old.
They’re killing old people in Plaszow
now. They bury them up in the forest. I
have no money. I borrowed these clothes.
Will you bring them here?
Schindler glances back at her, his face hard, cold, and
studies her for a long, long moment before -
SCHINDLER
I don’t do that. You’ve been misled. I
ask one thing: whether or not a worker
has certain skills. That’s what I ask
and that’s what I care about, get out of
my office.
She stares at him, frightened and bewildered. She feels
tears welling up.
SCHINDLER
Cry and I’ll have you arrested, I swear
to God.
She hurries out.
77.
136. INT. ADMINISTRATION BUILDING - PLASZOW - DAY 136.
Schindler barges into Stern’s office. In a foul and
aggressive mood, he dispenses with pleasantries in order to
admonish the accountant -
SCHINDLER
People die, it’s a fact of life.
Stern has hardly had time to look up from the work on his
desk.
SCHINDLER
He wants to kill everybody? Great. What
am I supposed to do, bring everybody
over? Is that what you think? Yeah,
send them over to Schindler, send them
all. His place is a “haven,” didn’t you
know? It’s not a factory, it’s not an
enterprise of any kind, it’s a haven for
people with no skills whatsoever.
Stern’s look is all innocence, but Schindler knows better.
SCHINDLER
You think I don’t know what you’re doing?
You’re so quiet all the time? I know.
STERN
(with concern)
Are you losing money?
SCHINDLER
No, I’m not losing money, that’s not the
point.
STERN
What other point is -
SCHINDLER
(interrupts; yells)
It’s dangerous. It’s dangerous, to me,
personally.
78.
Silence. Schindler tries to settle down. Then -
SCHINDLER
You have to understand, Goeth’s under
enormous pressure. You have to think of
it in his situation. He’s got this whole
place to run, he’s responsible for
everything that goes on here, all these
people - he’s got a lot of things to
worry about. And he’s got the war. Which
brings out the worst in people. Never
the good, always the bad. Always the
bad. But in normal circumstances, he
wouldn’t be like this. He’d be all
right. There’d be just the good aspects
of him. Which is a wonderful crook. A
guy who loves good food, good wine, the
ladies, making money…
STERN
And killing.
SCHINDLER
I’ll admit it’s a weakness. I don’t
think he enjoys it.
(pause)
All right, he does enjoy it, so what?
What do you expect me to do about it?
STERN
There’s nothing you can do. I’m not
asking you to do anything. You came into
my office.
But it isn’t Stern who needs convincing; it’s Schindler
himself. It’s doubtful he even realizes this, but it’s clear
to Stern. Schindler sighs either at the predicament itself,
or at the fact that he’s ahhhhsllowed Stern to place him
right in the middle of it. He turns to leave, hesitates. He
conducts a mental search for a name and eventually comes up
with it:
79.
SCHINDLER
Perlman, husband and wife. He unstraps
his watch, hands it to Stern.
SCHINDLER
Give it to Goldberg, have him send them
over. He leaves.
Ratings
Scene 23 - Power and Justice
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.
SCHINDLER
They don’t fear us because we have the
power to kill, they fear us because we
have the power to kill arbitrarily. A
man commits a crime, he should know
better. We have him killed, we feel
pretty good about it. Or we kill him
ourselves and we feel even better.
That’s not power, though, that’s justice.
That’s different than power. Power is
when we have every justification to kill -
and we don’t. That’s power. That’s what
the emperors had. A man stole something,
he’s brought in before the emperor, he
throws himself down on the floor, he begs
for mercy, he knows he’s going to die …
and the emperor pardons him. This
worthless man. He lets him go. That’s
power. That’s power.
It seems almost as though this temptation toward restraint,
this image Schindler has brush-stroked of the merciful
emperor, holds some appeal to Goeth. Perhaps, as he stares
out over his camp, he imagines himself in the role, wondering
what the power Schindler describes might feel like.
Eventually, he glances over drunkenly, and almost smiles.
80.
SCHINDLER
Amon the Good.
138. EXT. STABLES - PLASZOW - DAY 138.
A stable boy works to ready Goeth’s horse before he arrives.
He sticks a bridle into its mouth, throws a riding blanket
onto its back, drags out the saddle Schindler bought Goeth.
Before he can finish, though, Goeth is there. The boy tries
to hide his panic; he knows others have been shot for less.
STABLE BOY
I’m sorry, sir, I’m almost done.
GOETH
Oh, that’s all right.
As Goeth waits, patiently it seems, whistling to himself, the
stable boy tries to mask his confusion.
139. EXT. PLASZOW - DAY 139.
Goeth gallops around his great domain holding himself high in
the saddle. But everywhere he looks, it seems, he’s
confronted with stoop-shouldered sloth. He forces himself to
smile benevolently.
140. INT. GOETH’S VILLA - DAY 140.
Goeth comes into his bedroom sweating from his ride. A
worker with a pail and cloth appears in the bathroom doorway.
More to the floor -
WORKER
I have to report, sir, I’ve been unable
to remove the stains from your bathtub.
Goeth steps past him to take a look. The worker is almost
shaking, he’s so terrified of the violent reprisal he expects
to receive.
GOETH
What are you using?
81.
WORKER
Soap, sir.
GOETH
(incredulous)
Soap? Not lye?
The worker hasn’t a defense for himself. Goeth’s hand drifts
down as if by instinct to the gun in his holster. He stares
at the worker. He so wants to shoot him he can hardly stand
it, right here, right in the bathroom, put some more stains
on the porcelain. He takes a deep breath to calm himself.
Then gestures grandly.
GOETH
Go ahead, go on, leave. I pardon you.
The worker hurries out with his pail and cloth. Goeth just
stands there for several moments - trying to feel the power
of emperors he’s supposed to be feeling. But he doesn’t feel
it. All he feels is stupid.
Ratings
Scene 24 - Tense Confrontation and Stealing Allegations
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.
The sentries at their little table again, drinking
Schindler’s vodka. Nearby, Schindler and Stern outside
Stern’s barracks. The accountant’s tone is hushed:
STERN
If he didn’t steal so much, I could hide
it. If he’s steal with some discretion…
CUT TO:
82.
143. STERN’S OFFICE, PLASZOW - DAY 143.
Goldberg delivers a stack of requisitions and invoices, and
leaves without a word. Behind his desk, Stern takes a
cursory look at them and shakes his head in dismay.
144. INT. GOLDBERG’S OFFICE, PLASZOW - MINUTES LATER - DAY 144.
Stern comes in with the requisitions. Now it’s Goldberg’s
turn to shake his head in dismay; he doesn’t want to hear it -
STERN
There are fifteen thousand people here -
GOLDBERG
Goeth says there’s twenty-five.
STERN
There are fifteen. He wants to say
sixteen, seventeen, all right, maybe he
can get away with it, but ten thousand
over? It’s stupid.
GOLDBERG
Stern, do me a favor, get out of here.
You want to argue about it, go tell
Goeth.
145. LOADING DOCK, PLASZOW - DAY 145.
Stern watches truck being unloaded of bags of flour, rice and
other supplies. Goeth nods to Hujar. Hujar calls a halt.
The workers climb down, close up the trucks. And, still half-
full, the trucks rumble off.
STERN (V.O.)
The SS auditors keep coming around,
looking over the books - Goeth knows
this -
83.
146. EXT. CRACOW - DAY 146.
The trucks at the loading dock of Goeth’s private warehouse.
Polish workers, under Hujar’s supervision, throwing down the
“surplus” bags of flour and rice - the supplies for the
phantom 10,000 prisoners.
STERN (V.O.)
- you’d think he’d have the common sense
to see what’s coming. No, he steals with
complete impunity.
CUT BACK TO:
147. BARRACKS - CONTINUED - NIGHT 147.
They can see Goeth’s villa up on the hill; figures moving
around behind the windows. There’s another party going on up
there. Down here, as he nurses a drink from his flask,
Schindler thinks about what Stern has told him, and
eventually shrugs, Fine, fuck him.
SCHINDLER
So you’ll be rid of him.
But Stern slowly shakes his head ‘no.’
STERN
If Plaszow is closed, they’ll have to
send us somewhere else. Where - who
knows? Gross-Rosen maybe. Maybe
Auschwitz.
There’s the irony - bad as it is, evil as Goeth is, it could
get worse. Schindler understands.
SCHINDLER
I’ll talk to him.
STERN
I think it’s too late.
84.
SCHINDLER
Well, I’ll talk to somebody. I’ll take
care of it.
He hands over to Stern some negotiable items and leaves.
148. INT. NIGHTCLUB - CRACOW - NIGHT 148.
Schindler and Senior SS Officers Toffel and Scherner share a
table in same smoke-filled nightclub they met in.
SCHINDLER
What’s he done that’s so bad - take
money? That’s a crime? Come on, what are
we here for, to fight a war? We’re here
to make money, all of us.
TOFFEL
There’s taking money and there’s taking
money, you know that. He’s taking money.
SCHERNER
The place produces nothing. I shouldn’t
say that - nothing it produces reaches
the Army. That’s not all right.
SCHINDLER
So I’ll talk to him about it.
SCHERNER
He’s a friend of yours, you want to help
him out. Tell me this, though - has he
ever once shown you his appreciation?
I’ve yet to see it. Never a courtesy.
Never a thank you note. He forgets my
wife at Christmas time -
SCHINDLER
He’s got no style, we all know that. So,
we should hang him for it?
TOFFEL
He’s stealing from you, Oskar.
85.
SCHINDLER
Of course he’s stealing from me, we’re in
business together. What is this? I’m
sitting here, suddenly everybody’s
talking like this is something bad. We
take from each other, we take from the
Army, everybody uses everybody, it works
out, everybody’s happy.
SCHERNER
Not like him.
Schindler glances away to the floor show, nods to himself.
Glancing back again, he considers the SS men with great
sobriety.
SCHINDLER
Yeah, well, in some eyes it doesn’t
matter the amount we steal, it’s that we
do it. Each of us sitting at this table.
His thinly veiled threat of exposure escapes neither SS man.
The air seems thicker suddenly.
SCHERNER
He doesn’t deserve your loyalty. More
important, he’s not worth you making
threats against us.
SCHINDLER
Did I threaten anybody here? I stated a
simple fact.
The threat still stands, despite Schindler’s assurance
otherwise, and they all know it. So does Scherner’s threat
back to him, and they all know that, too. But Schindler just
grins, and, glancing away -
SCHINDLER
Come on, let’s watch the girls.
86.
Ratings
Scene 25 - Schindler's Birthday Celebration and the Sorting Process
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.
150. INT. UPSTAIRS OFFICES, D.E.F. - SAME TIME - DAY 150.
In honor of Schindler’s birthday, Goeth has brought over
Stern and the Rosners - the musicians, at the moment,
accompanying the best baritone in the Ukrainian garrison.
Surrounded by his friends and lovers, Schindler cuts a cake.
He receives congratulations from the many SS men present and
the embraces, in turn, of Ingrid and Klonowska and Goeth.
From Stern he gets a handshake.
A Jewish girl from the shop floor is admitted and timidly
approaches the drunken group around Schindler. The SS men
consider her as a curiosity; Schindler, as he would any
beautiful girl. The music breaks and out of the silence
comes a small nervous voice:
FACTORY GIRL
… On behalf of the workers … sir … I wish
you a happy birthday …
She hesitates. She’s surrounded by SS uniforms and swastikas
and holstered guns. Schindler smiles; this is a beautiful
girl.
SCHINDLER
Thank you.
He kisses her on the mouth. The smiles on the faces around
them strain. Stern glances to heaven. Amon cocks his head
like a confused dog. The kiss is broken, finally, and
Schindler smiles again with impunity.
SCHINDLER
Thank them for me.
87.
The girl backs away nodding anxiously; all she wants now is
out before someone - her, Schindler, both of them - gets
shot. Henry Rosner nudges Leo and they begin another song.
And the party tries to resume.
151. EXT. APPELLPLATZ - PLASZOW - DAWN 151.
Were they not asleep in their barracks, the prisoners would
no doubt shudder at the sight: the clerks are setting up
their folding tables.
Other figures move around the parade ground in the murky dawn
light: these raising a banner, those wheeling filing cabinets
across the Appellplatz, this one wiring a phonograph, that
one saturating a pad with ink from a bottle.
Goldberg, Lord of Lists, moves from table to table handing
out carbons of lists and sharing morning pleasantries with
the clerks.
Some men in white appear like ghosts. A doctor’s kid is
opened, a stethoscope removed. Another cleans the lenses of
his glasses. Someone sharpens a pencil.
152. EXT. DEPOT - PLASZOW - DAWN 152.
A trainman waving a lantern guides an engineer who’s slowly
backing an empty cattle car along the tracks. It couples to
another empty slatted car with a harsh clank.
153. EXT. APPELLPLATZ - PLASZOW - DAY 153.
The needle of the phonograph is set down on a pocked 78. The
first scratchy note of a Strauss waltz blare from the camp
speakers.
154. EXT. BALCONY - GOETH’S VILLA - DAY 154.
In his undershirt and shorts Goeth calmly smokes his first
cigarette of the morning as he listens to the music wafting
up from down below.
88.
Down there on the Appellplatz, the entire population of the
camp has been concentrated, some fifteen thousand prisoners.
155. EXT. APPELLPLATZ - PLASZOW - DAY 155.
Though the music and banners struggle to evoke a country
fair, the presence of the doctors belie it. A sorting out
process is going on here, the healthy from the unhealthy.
A physician wipes at his brow with his handkerchief as
several prisoners run back and forth, naked, before him. He
makes his selections quickly: this one into this line, that
one into that, and Goldberg moves them recording the names.
Other groups of people run naked in front of other doctors
and clerks. Notations are made and lines are formed. The
sun beats down and the music lies.
156. EXT. DEPOT - PLASZOW - DAY 156.
Some still pulling their clothes back on, the first wave of
the “unfit” is marched onto the platform. A guard slides
open the gate of a cattle car and this first unlucky group
climbs aboard.
157. EXT. APPELLPLATZ - PLASZOW - DAY 157.
Behind the camouflage of other women prisoners, Mila
Pfefferberg rubs a beet against her cheeks in desperate hope
of adding a little color to her skin.
Amon Goeth, his shirtsleeves uncharacteristically rolled up,
chats with one of the doctors as another group strips.
Whether the topic is this Health Aktion or the unseasonable
weather is unclear, but he nods approvingly.
PFEFFERBERG (O.S.)
Commandant, sir.
Goeth glances up, finds Poldek among the group taking off
their clothes. Pfefferberg appeals to him with a look that
asks, Do I really have to go through this, and Goeth turns to
a clerk.
89.
GOETH
My mechanic.
Pfefferberg is motioned away from the others; he’s okay, he
doesn’t have to be put through this indignity. He calls out
to the Commandant again-
PFEFFERBERG
What about my wife?
Goeth thinks about it a moment before he nods, Yeah, okay,
sure. A clerk accompanies Pfefferberg and, making a notation
on the way, finds Mila.
Ratings
Scene 26 - Desperate Prisoners and Schindler's Proposal
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.
The needle of the phonograph is set down on another record, a
children’s song, “Mammi, kauf mir ein Pferdchen” (Mommy, buy
me a pony).
Children are yanked from the arms of their parents. Wailing
protests quickly escalate to brawls with the guards.
Revolvers and rifles aim at the sun and fire. Music, shots,
wails.
160. INT. BARRACKS - SAME TIME - DAY 160.
Guards traipse through a deserted barracks peering up at the
rafters, pulling planks from the floor, upending cots,
looking for some children.
161. EXT. BARRACKS - SAME TIME - DAY 161.
A small figure in red sprints across to another barracks,
past it, to a crude wooden structure beyond it.
90.
162. INT. MEN’S LATRINES - SAME TIME - DAY 162.
An arm held out to either side, the small girl lowers herself
into a pit into which men have defecated. She works her way
slowly down, trying to find knee- and toeholds on the foul
walls, ignoring the flies invading her ears, her nostrils.
Reaching the surface of the muck she lets her feet submerge,
then her ankles, her shins, her knees, before finally
touching harder ground. As she struggles to slow her
breathing, her racing heart, she hears a hallucinatory
murmur -
BOY’S VOICE
This is our place.
She sees eyes in the darkness; five other children are
already there.
163. EXT. DEPOT - PLASZOW - LATER - DAY 163.
Waves of heat rise from the roofs of the long string of
cattle cars. Inside, those who “failed” the medical exams
bake as they wait for the last cars to be filled.
Schindler’s Mercedes pulls up. He climbs out and stares
transfixed. He notices Goeth then, standing with the other
industrialists, Bosch and Madritsch, and strolls over to
them.
GOETH
I tried to call you, I’m running a little
late, this is taking longer than I
thought. Have a drink.
SCHINDLER
What’s going on?
GOETH
I got a shipment of Hungarians coming in,
I got to make room for them. It’s always
something.
91.
He glances away at the train. The idling engine only
partially covers the desperate pleas for water coming from
inside the slatted cars.
GOETH
They’re complaining now? They don’t know
what complaining is.
He grins. Schindler watches as another car is loaded. It’s
like they’re climbing into an oven.
SCHINDLER
What do you say we get your fire brigade
out here and hose down the cars?
Goeth stares at him blankly, then with a What-will-you-think-
of-next? kind of look, then laughs uproariously and calls
over to Hujar -
GOETH
Bring the fire trucks!
HUJAR
What?
Hujar heard him, he just doesn’t get it. Finally he turns to
another guy and tells him to do it.
STREAM OF WATER CASCADE onto the scalding rooftops. The fire
trucks are there, the hoses firing the cold water at the cars
on the people inside who are roaring their gratitude.
GOETH
This is really cruel, Oskar, you’re
giving them hope. You shouldn’t do that,
that’s cruel.
And amusing, not just to Goeth, but to the other SS officers
standing around as well. Oskar moves away to talk with one
of the firemen. At full extension, apparently the hoses
still only reach halfway down the long line of cars. He
returns to Goeth.
92.
SCHINDLER
I’ve got some 200-meter hoses back at
D.E.F., we can reach the cars down at the
end.
Goeth finds this especially sidesplitting, and hollers -
GOETH
Hujar!
THE D.E.F. HOSES have arrived and are being coupled to
Plaszow’s. As the water drenches the cars further back, the
people inside loudly voice their thanks, and the guards and
officers outside grin at the spectacle.
GUARD
What does he think he’s saving them from?
The joke takes on new dimension when, from the back of the
D.E.F. trucks, boxes of food are unloaded. Accompanied by
the laughter of the SS, Schindler moves along the string of
cars pushing sausages through the slats.
GOETH
Oh, my God.
Goeth is almost hysterical. But slowly then, slowly, the
amusement on his face fades. His friend moving along the
cars bringing futile mercy to the doomed in front of
countless SS men, laughing or not, is not just behaving
recklessly here, it’s as though he were possessed.
The water rains down on the last car.
Ratings
Scene 27 - Arrest and Confession
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.
The girl who brought Schindler best wishes on his birthday
glances up from her work to the Gestapo crossing through the
factory. They climb the stairs to the upstairs offices and,
moments later, appear behind Schindler’s wall of glass.
167. INT. SCHINDLER’S OFFICE - DAY 167.
Schindler leaning against his desk, drink in his hand, calmly
tries to assess his humorless arresters.
SCHINDLER
I’m not saying you’ll regret it, but you
might. I want you to be aware of that.
GESTAPO 1
We’ll risk it.
Schindler glances beyond them to a point outside his office,
to Klonowska. She nods, she knows what to do, she’ll make
the phone calls, call in the favors.
SCHINDLER
All right, sure, it’s a nice day, I’ll go
for a drive with you guys.
He snuffs out his cigarette.
168. INT. GESTAPO CAR - MOVING - DAY 168.
Settled comfortably in the backseat, Schindler glances idly
out the window. As the car makes a turn, though, he looks
back. Apparently he expected it to turn the other way.
SCHINDLER
Where are we going?
The guys up front don’t answer. Concern, for the first time,
registers on Schindler’s face. The car approaches a building
block long with an ominous sameness to the windows.
94.
169. INT. MONTELUPICH PRISON - CRACOW - DAY 169.
Schindler is made to empty his pockets, his money,
cigarettes, everything. Around him clerks speak in whispers,
as if raised voices might set off head-splitting echoes along
the narrow monotonous corridors.
170. INT. MONTELUPICH PRISON - DAY 170.
He’s led down a flight of stairs into a claustrophobic
tunnel. He’s taken past darkened cells. Past shadowy figures
crouched in corners and on the floor.
171. INT. CELL, MONTELUPICH PRISON - DAY 171.
A water bucket. A waste bucket. No windows. This is not a
cell for dignitaries; this arrest is different.
Schindler, incongruous with the dank surroundings in his
double-breasted suit, slowly paces back and forth before his
cellmate, a soldier who looks like he’s been here forever,
his greatcoat pulled up around his ears for warmth.
SCHINDLER
I violated the Race and Resettlement Act.
Though I doubt they can point out the
actual provision to me.
(pause)
I kissed a Jewish girl.
Schindler forces a smile. His cellmate just stares. Now
there’s a crime; much more impressive, much more serious,
than his own.
Ratings
Scene 28 - Failed Justification and Tragic Melancholy
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:
95.
GOETH
He likes women. He likes good-looking
women. He sees a good-looking woman, he
doesn’t think. This guy has so many
women. They love him. He’s married, he’s
got all these women. All right, she was
Jewish, he shouldn’t have done it. But
you didn’t see this girl. I saw this
girl. This girl was very good-looking.
Goeth tries to read the guy behind the desk, but his face is
like a wall.
GOETH
They cast a spell on you, you know, the
Jews. You work closely with them like I
do, you see this. They have this power,
it’s like a virus. Some of my men are
infected with this virus. They should be
pitied, not punished. They should
receive treatment, because this is as
real as typhus. I see this all the time.
Goeth shifts in his chair; he knows he’s not getting anywhere
with this guy. He switches tacts:
GOETH
It’s a matter of money? We can discuss
that. That’d be all right with me.
In the silence that follows, Goeth realizes he has made a
serious error in judgment. This man sitting soberly before
him is one of that rare breed - the unbribable official.
SS COLONEL
You’re offering me a bribe?
GOETH
A “bribe?” No, no, please come on …a
gratuity.
96.
Suddenly the man stands up and salutes, which thoroughly
confuses Goeth since Goeth is his inferior in rank. But he
isn’t saluting Goeth, he’s saluting the officer who has just
stepped into the room behind him.
SCHERNER
Sit down.
The colonel sits back down. Scherner pulls up a chair next
to Goeth.
SCHERNER
Hello, Amon.
GOETH
Sir.
Scherner smiles and allows Goeth to shake his hand, but it’s
clear, even to Goeth himself, that he has fallen from grace.
173. INT. GOETH’S VILLA - PLASZOW - NIGHT 173.
A tall, thin, gray Waffen SS officer has a request for the
Rosner brothers.
SS OFFICER
I want to hear “Gloomy Sunday” again.
He’s drunk, morose; it seems unlikely he’ll be on his feet
much longer. Indeed, as Henry and Leo Rosner begin the son -
an excessively melancholy tale in which a young man commits
suicide for love - the field officer staggers over to a chair
in the corner of the crowded room and slumps into it.
SCHERNER
We give you Jewish girls at five marks a
day, Oskar, you should kiss us, not them.
Goeth laughs too loud, drawing a weary glance from Scherner.
Schindler smiles good-naturedly. He’s out, a little worse
for wear perhaps, a little more subdued than usual. Taking
him away from the others, taking him into his confidence -
97.
GOETH
God forbid you ever get a real taste for
Jewish skirt. There’s no future in it.
No future. They don’t have a future.
And that’s not just good old-fashioned
Jew-hating talk. It’s policy now.
THE THIN GRAY SS OFFICER is back in front of the musicians,
swaying precariously, a drink in his hand -
SS OFFICER
“Gloomy Sunday” again.
Again they play the song. Again he staggers across the
crowded room to his chair in the corner, paying no attention
to the visiting Commandant from Treblinka or anybody else -
TREBLINKA GUY
- We can process at Treblinka, if
everything is working? I don’t know,
maybe two thousand units a day.
He shrugs like it’s nothing, or with modesty, it’s unclear.
Goeth is dully impressed; Schindler, only politely so.
TREBLINKA GUY
Now Auschwitz. Now you’re talking. What
I got is nothing, it’s like a…a machine.
Auschwitz, though, now there’s a death
factory. There, they know how to do it.
There, they know what they’re doing.
AGAIN THE GRAY OFFICER wavering before Henry and Leo. This
time they don’t wait for him to ask for it -
LEO ROSNER
“Gloomy Sunday”
As the man stumbles back to his chair, the Rosners not only
play the song again, they play with it, and him, this one
somber man in the corner staring at them almost gratefully,
wrenching from the song all the sentimentality they can, as
if they could actually drive him to kill himself.
98.
No one else in the room is aware of the exchange going on
between them - this man and this music - which the brothers
play as if it were an invocation. Eventually, though,
someone does become aware, if not of the intention, at least
of the repetition, and interrupts the spell -
GOETH
Enough - Jesus - God -
The music falls apart. The brothers find Goeth in the crowd
looking at them like, Come on, for Christ’s sake play
something else. Which they do - defeated - some innocuous
Von Suppe. Goeth turns back to one of his guests.
Glancing back, as they play, to the corner, the Rosners see
the gloomy SS officer getting slowly up from his chair. He
stands there for a moment, staring at nothing, then slowly
makes his way out onto the balcony where he stands in the
night air, absolutely still, in silhouette to the Rosners.
And, ruining a perfectly good party, he takes out a gun and
shoots himself in the head.
Ratings
Scene 29 - Schindler's Descent
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
workers are marched under heavy guard out of the factory and
its annexes and across the fortified yard.
His people are being taken. Where, is unclear. Schindler
abruptly breaks off the discussion with the SS man, climbs
into his car and drives off.
175. EXT. FOREST - PLASZOW - LATER - DAY 175.
A creek flowing gently through marshy ground under an
umbrella of trees. Leo John and his five year old son, on
their knees catching tadpoles, seem unaware of, or at least
not distracted by, a ghastly endeavor going on beyond them:
99.
Bodies being exhumed out of the earth, out of the mass graves
in the forest. The dead lay everywhere, victims of the
ghetto massacre, victims of Plaszow.
Arriving, Schindler sees Goeth standing up at the tree line.
Approaching him, furious, he hesitates. He sees a
wheelbarrow trundled by Pfefferberg, a corpse in it. He
fears the body is Mila’s, but then sees her trundling another
barrow, another corpse in it. Goeth calls to Schindler -
GOETH
Can you believe this?
Goeth shakes his head, dismayed. Schindler joins him and
stares at a pyre of bodies built by masked and gagging
workers, layer upon layer.
GOETH
I’m trying to live my life, they come up
with this? I got to find every body
buried up here? And burn it?
It’s always something. He glances off. The pyre has reached
the height of a man’s shoulder. The workers move around it
dousing it with gasoline.
SCHINDLER
You took my workers.
GOETH
(indignant)
They’re taking mine. When I said they
didn’t have a future I didn’t mean
tomorrow.
(pause)
Auschwitz.
SCHINDLER
When?
GOETH
I don’t know. Soon.
100.
He sighs at the unfairness of it all, the dissolution of his
kingdom. His glance finds his man, Leo John, over at the
stream.
GOETH
This is good. I’m out of business and
he’s catching tadpoles with his son.
Tight on the gleeful boy with a tadpole in his hand. Behind
him, smoke from the pyre rises into the sky.
176. INT. D.E.F. FACTORY - NIGHT 176.
Schindler, in silhouette against the wall of glass, stares
down at his deserted factory, his silent machines, the dark
empty spaces.
177. INT. SCHINDLER’S APARTMENT - DAY 177.
Light pouring in through the windows. White sheets over the
furniture like shrouds over the dead. Schindler’s personal
things are gone.
178. EXT. POLAND/CZECHOSLOVAKIA BORDER - EVENING 178.
Schindler’s Mercedes, the backseat piled high with suitcases.
A border guard returns his passport to him. The barrier is
lifted and he crosses into Czech countryside.
179. INT. SQUARE, BRINNLITZ, CZECHOSLOVAKIA - MORNING 179.
A church in the main square of a sleepy hamlet. A priest and
his parishioners, including Emilie Schindler, emerging from
it, morning Mass over.
Some guys outside a bar/café, hanging gout, drinking, notice
the elegantly dressed gentleman outside the town’s only
hotel. They recognize him. They come over.
SCHINDLER
Hey, how you doing?
101.
BRINNLITZ GUY 1
Look at this.
Schindler, the clothes, the car, the suitcases, the great
difference between their respective stations in life.
Somehow their old ne’er-do-well friend has managed to do
quite well, and it amazes them.
Across the square, Emilie has noticed him; and he, her. But
neither makes a move toward the other. Finally she walks
away; which Schindler interprets correctly to mean, Yes,
check into the hotel. He tips the porter extravagantly and
turns back to the guys from the bar.
SCHINDLER
Let me buy you a drink.
180. INT. BAR - BRINNLITZ - NIGHT 180.
Except for the clothes of the working class clientele, the
scene is reminiscent of the SS nightclub in Cracow:
Schindler, the great entertainer, working his way around the
tables making sure everybody’s got enough to drink, making
sure everybody’s happy. A guy at a table with a girl
gestures him over.
BRINNLITZ GUY 2
Oskar - my friend Lena.
SCHINDLER
How do you do?
(to them both)
What can I get you, what’re you drinking?
BRINNLITZ GUY 2
Nothing’s changed. Then again, something
has changed, hasn’t it?
SCHINDLER
Things worked out. I made some money
over there, had some laughs, you know. It
was good.
102.
BRINNLITZ GUY 2
Now you’re back.
SCHINDLER
Now I’m back, and you know what I’m going
to do now? I’m going to have a good
time. So are you.
He gestures to the bartender to refill his friend’s and his
date’s drinks, pats the guy on the shoulder and wanders over
to the next table.
GIRL
Who is he?
The guy has to think; not because he doesn’t know, but
because his old friend Oskar is so many things it’s hard to
know which description to use. Finally -
BRINNLITZ GUY 2
He’s a salesman.
181. INT. HOTEL ROOM - BRINNLITZ - NIGHT 181.
A woman asleep in the bed. The girl from the bar. In his
robe, at the window, Schindler calmly smokes as he stares out
at the NIGHT
182. EXT. BRINNLITZ - DAWN 182.
The town, off in the distance, nestled against the mountains.
The sun, just coming up. Closer, here, ramshackle
structures, a long abandoned factory of some kind.
Schindler, in leather riding gear, climbs down off a Moto-
Guzzi motorcycle. He slowly wanders around, peers in through
broken windows, wanders around some more.
Tight on his face, torn between conflicting choices, or
realizing there’s no choice, or only one choice, and hating
it.
103.
SCHINDLER
Goddamn it.
183. EXT. BALCONY, GOETH’S VILLA - PLASZOW - DAY 183.
Schindler and Goeth on the balcony of the villa, drinking.
GOETH
You want these people.
SCHINDLER
These people, my people, I want my
people.
Goeth considers his friend, greatly puzzled. Below them lies
the camp, still operating, at least for now, until the
shipments can be arranged.
GOETH
What are you, Moses? What is this?
Where’s the money in this? What’s the
scam?
SCHINDLER
It’s good business.
GOETH
Oh, this is “good business” in your
opinion. You’ve got to move them, the
equipment, everything to Czechoslovakia -
it doesn’t make any sense.
SCHINDLER
Look -
GOETH
You’re not telling me something.
SCHINDLER
It’s good for me - I know them, I’m
familiar with them. It’s good for you -
you’ll be compensated. It’s good for the
Army. You know what I’m going to make?
104.
SCHINDLER
Artillery shells. Tank shells. They need
that. Everybody’s happy.
GOETH
Yeah, sure.
Goeth finds this whole line of reasoning impossible to
believe. He’s sure Schindler’s got something else going on
here he’s not telling him.
GOETH
You’re probably scamming me somehow. If
I’m making a hundred, you got to be
making three.
Schindler admits it with a shrug.
GOETH
If you admit to making three, then it’s
four, actually. But how?
SCHINDLER
I just told you.
GOETH
You did, but you didn’t.
Goeth studies him, searching for the real answer in his face.
He can’t find it.
GOETH
Yeah, all right, don’t tell me, I’ll go
along with it, it’s just irritating to me
I can’t figure it out.
SCHINDLER
All you have to do is tell me what it’s
worth to you. What’s a person worth to
you.
105.
Goeth thinks about it in the silence. Then a slow nod to
himself. He’s going to make some money out of this even if
he can’t figure it out. He smiles.
GOETH
What’s one worth to you? That’s the
question.
HARD CUT TO:
184 THE KEYS OF A TYPEWRITER slapping a name onto a list - 184
LEVARTOV - the letters the size of buildings, the sound as
loud as gunshots -
TIGHT ON THE FACE OF A MAN - Rabbi Levartov - the hinge-maker
Goeth tried to kill with a faulty revolver -
THE KEYS HAMMER another name - PERLMAN -
TIGHT ON TWO ELDERLY FACES - a man, a woman - the parents of
“Elsa Krause.”
IN HIS SMALL CLUTTERED PLASZOW OFFICE - Stern transcribes
D.E.F. workers’ names from a Reich Labor Office document to
the list in his typewriter, Schindler’s List.
A NAME - A FACE - NAME - FACE - NAME -
TIGHT ON SCHINDLER slowly pacing the six or seven steps
Stern’s cramped office allows, nursing a drink.
SCHINDLER
Poldek Pfefferberg … Mila Pfefferberg …
THE KEYS typing ‘PFEFFE- PFEFFERBERG’S face, tight. MILA’S
face, tight.
CURRENCY, hard Reichmarks, in a small valise. As Goeth looks
at it, he mumbles to himself -
GOETH
A virus…
106.
MOVING DOWN THE LIST of names, forty, fifty. The sound of
the keys. Stern pulls the sheet out of the machine, rolls in
another, types a name.
EQUIPMENT BEING LOADED onto trucks outside Madritsch’s
Plaszow factory.
SCHINDLER
You can do the same thing I’m doing.
There’s nothing stopping you.
Madritsch is shaking his head ‘no’ to Schindler’s appeal to
make his own list, to get his workers out.
MADRITSCH
I’ve done enough for the Jews.
THE KEYS typing another name - A FACE, a man, A FACE, a
woman, A FACE, a child -
COGNAC SPILLING into a glass. The glass coming up to
Schindler’s mouth, hesitating there.
SCHINDLER
The investors.
A NAME - A FACE - one of the original D.E.F. investors.
ANOTHER NAME - ANOTHER FACE - another of the Jewish
investors.
SCHINDLER
All of them. Szerwitz, his family.
STERN GLANCES UP with a look that asks Schindler if he’s sure
about this one. He is. The keys type SZERWITZ -
TIGHT ON THE FACE of the investor who stole from Schindler,
the one he threatened to have killed by the SS, and the faces
of his sons -
THREE OR FOUR PAGES of names next to the typewriter. Stern,
trying to count them, estimates -
107.
STERN
Four hundred, four fifty -
SCHINDLER
More.
THE TRUNK OF SCHINDLER’S MERCEDES yawning open. He takes a
small valise from it and heads for Goeth’s villa.
THE KEYS typing ROSNER -
TIGHT ON Henry Rosner, the violinist. TIGHT ON his brother,
Leo, the accordionist.
SCHINDLER AND BOSCH, the other Plaszow industrialist. The
same appeal Schindler made to Madritsch; the same answer,
‘no.’
MOVING DOWN another page of names.
STERN (O.S.)
About six hundred -
SCHINDLR (O.S.)
More.
THE SOUND OF THE KEYS OVER the face of a boy, the “chicken
thief.” Over THE FACE OF A GIRL, the one who hid in the pit
of excrement. Over the FACES we’ve never seen.
STERN (O.S.)
Eight hundred, give or take.
SCHINDLER
(angrily)
Give or take what, Stern - how many -
count them.
STERN RUMS HIS FINGER down the pages of names, trying to
count them more precisely.
BLACKJACK, dealt by GOETH. They’re betting diamonds, he and
Schindler. A queen falls and Goeth groans his misfortune.
108.
THE FACE OF Goeth’s maid.
GOETH SWEEPS his hold card against the table, is thrown a
four, sweeps it again and gets a jack.
A NAME we don’t recognize is typed.
A FACE we don’t recognize.
Ratings
Scene 30 - Schindler's Secret Deal
Schindler leafing through the page of names, counting them,
drinking, to the sound of the typewriter. Eventually,
quietly to himself -
SCHINDLER
That’s it.
Stern heard him and stops typing, glances over.
SCHINDLER
You can finish that page.
Stern resumes where he left off, but then hesitates again.
There’s something he doesn’t understand.
STERN
What did Goeth say? You just told him
how many you needed?
It doesn’t sound right. And Schindler doesn’t answer. He’s
avoided telling Stern the details of the deal struck with
Goeth, and balks telling him now. Finally awkwardly -
SCHINDLER
I’m buying them. I’m paying him. I give
him money, he gives me the people.
(pause)
If you were still working for me I’d
expect you to talk me out of it, it’s
costing me a fortune.
109.
Stern had no idea. And has no idea now what to say.
Schindler shrugs like it’s no big deal, but Stern knows it
is.
SCHINDLER
Give him the list, he’ll sign it, he’ll
get the people ready. I have to go back
to Brinnlitz, to take care of things on
that end, I’ll see you there.
Stern is really overcome by what this man is doing. What he
can’t figure out is why. Silence. And then -
SCHINDLER
Finish the page.
Stern turns back, does as he’s told. Schindler drinks.
Nothing but the sound of the typewriter keys. And then
nothing at all. The page is done. The rest will die.
186. INT. TOWN COUNCIL HALL - BRINNLITZ - NIGHT 186.
Schindler in front of a large assembly, party pin in his
lapel, as usual, imposing SS guards on either side of him.
SCHINDLER
This is my home.
He looks out over his audience, the citizens of Brinnlitz,
local government officials, many of them appearing bewildered
by him or the “situation” that has arisen.
SCHINDLER
I was born here, my wife was born here,
my mother is buried here, this is my
home.
His estranged wife is there. So are the guys he was drinking
with.
SCHINDLER
Do you really think I’d bring a thousand
Jewish criminals into my home?
110.
Everyone seems to breathe sighs of relief as if they’ve been
waiting for him to say this, to dispel the disturbing rumors
they’ve heard.
SCHNDLER
These are skilled munitions workers -
they are essential to the war effort -
The noise begins, his audience’s angry reaction. Raising
pitch of his own voice -
SCHINDLER
- It is my duty to supervise them - and
it is your duty to allow me -
He barely gets it all out before the protests drown him out.
The uproar reaches such a clamoring level there’s no point in
his continuing.
187. GOETH’S VILLA - PLASZOW - DAY 187.
Goeth, at his writing desk, endures the bureaucratic tedium
of signing memoranda, transport orders, requisitions. He
comes to Schindler’s list, initials each page and signs the
last with no more interest than the others. He hands the
whole stack of paperwork to Marcel Goldberg, Personnel Clerk,
Executor of Lists, Gangster.
Ratings
Scene 31 - Chaos and Conflict at Plaszow
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.
At a folding table in the middle of the field, Schindler
signs his name to Reich Main Office directives, Evacuation
Board and Department of Economy form, Armaments contracts.
111.
Around him, the new camp is taking shape: Electric fences are
going up, watchtowers, barracks; shipments of heavy
equipment, huge Hilo machines, are being off-loaded from
flatbed train cars; SS engineers stand around frowning at the
lay of the land, some drainage problem no doubt.
190. EXT. DEPOT - PLASZOW - DAY 190.
A train full of people destined for Auschwitz pulls away from
the platform. As Goldberg gathers his paperwork, a prisoner
approaches him.
PRISONER
Am I on the list?
GOLDBERG
What list is that?
He knows what the prisoner means and the prisoner knows he
knows. He means Schindler’s List.
GOLDBERG
The good list? Well, that depends,
doesn’t it?
The prisoner knows that, too, and discreetly turns over to
Goldberg a couple of diamonds from the lining of his coat.
191. INT. GOLDBERG’S OFFICE - PLASZOW - NIGHT 191.
Names on a notepad, the first few crossed out. Goldberg
types the next name onto a page of The List, squeezing it
into the upper margin, and crosses that one out on the pad.
He rolls the page down, types another name, tires of the
exacting task, tears the handwritten page of names from the
notepad, crumples it and throws it away.
192. EXT. BRINNLITZ - NIGHT 192.
Schindler, on his way back to his hotel after a night of
drinking, is jumped by three guys, wrestled to the ground and
brutally kicked.
112.
As the forms of his attackers move away, he catches a glimpse
of one of them -his “friend” who admired his car when he
first arrived back in town.
193. INT. MECHANICS GARAGE - PLASZOW - DAY 193.
Pfefferberg, his head under the hood of a German staff car,
adjusting the carburetor. Goldberg comes in.
GOLDBERG
Hey, Poldek, how’s it going?
(Pfefferberg ignores him)
You know about the list? You’re on it.
PFEFFERBERG
Of course I’m on it.
GOLDBERG
You want to stay on it? What do you got
for me?
Pfefferberg glances up from his work and studies the
blackmailing collaborator for a long moment.
PFEFFERBERG
What do I got for you?
GOLDBERG
Takes diamonds to stay on this list.
Pfefferberg suddenly attacks him with the wrench in his hand,
beating him across the shoulders and head with it.
PFEFFERBERG
I’ll kill you, that’s what I got for you.
Goldberg goes down, tries to scramble away on his knees, the
blows coming down hard on his back.
GOLDBERG
All right, all right, all right.
He makes it outside the garage and runs.
113.
194. EXT. DEPOT - PLASZOW - DAY 194.
A cattle car is coupled to another, the pin dropped into
place. On the platform, clerks at folding tables shuffle
paper while others mill around with clipboards, calling out
names.
Thousands of prisoners on the platform, some climbing onto
strings of slatted cars on opposing tracks. Some already in
them, most standing in lines, changing lines, the end of one
virtually indistinguishable from the beginning of another.
Paperwork. Lists of names. Pens in hands checking them off.
Some bound for Brinnlitz, the rest for Auschwitz, if they can
be properly sorted from one another.
A boy is allowed to remain in a line with his father; his
mother is taken to another line composed of women and girls.
This segregation is the only recognizable process going on;
the others, if they exist, are apparent only to the clerks
and guards, and maybe not even to them. It is chaos.
195. EXT. COUNTRYSIDE - NIGHT 195.
A train snakes across the dark landscape.
196. INT. CATTLE CAR - MOVING - NIGHT 196.
Stern, wedged into a corner of an impossibly crowded car.
This train may be headed for Schindler’s hometown, but it is
no more comfortable than the others on their way to Auschwitz-
Birkenau.
197. EXT. CROSSING - POLAND - DAY 196. 197.
The train idles at a crossing in the middle of nowhere.
Moving across the faces peering out from between the slats,
it becomes apparent there are only male prisoners aboard.
Below, on a dirt road, a lone Polish boy stands watching.
Just before an empty train roars past from the other
direction obscuring him, his hand comes up and across his
neck making the gesture of a throat being slit.
114.
197. EXT. DEPOT - BRINNLITZ - DAY 197.
The train pulls into the small quiet Brinnlitz station. The
doors are opened and the prisoners begin climbing down. At
the far end of the platform, flanked by several SS guards,
stands Schindler. To his customary elegant attire he has
added a careless accouterment, a Tyrolean hat.
198. EXT. BRINNLITZ - DAY 198.
Leading a procession of nine hundred male Jewish “criminals”
through the center of town, Schindler ignores the angry
taunts and denouncements and the occasional rock hurled by
the good citizens of Brinnlitz lining the streets.
199. INT. BRINNLITZ MUNITIONS FACTORY - DAY 199.
Under the towering Hilo machines, a meal of soup and bread
awaits the workers. As they’re sitting down to it, Schindler
addresses them -
SCHINDLER
You’ll be interested to know I received a
cable this morning from the Personnel
Office, Plaszow. The women have left.
They should be arriving here sometime
tomorrow.
He sees Stern among the workers, smiles almost imperceptibly,
turns and walks away.
200. EXT. RURAL POLAND - DAY 200.
A train backs slowly along the tracks toward an arched
gatehouse. The women inside the cattle cars don’t need a
sign to tell them where they are, they’ve seen this place in
nightmares. Pillars of dark smoke rise from the stacks into
the sky.
It’s Auschwitz.
115.
201. EXT. AUSCHWITZ - DAY 201.
The stunned women climb down from the railcars onto an
immense concourse bisecting the already infamous camp. As
they’re marched across the muddy yard by guards carrying
truncheons, Mila Pfefferberg stares at the place. It’ so
big, like a city, only one in which the inhabitants reside
strictly temporarily. To Mila, under her breath -
WOMAN
Where are the clerks?
So often terrified by the sight of a clerk with a clipboard,
it is the absence of clerks which unsettles the woman now, as
though there remains no further reason to record their names.
Mila’s eyes return to the constant smoke rising beyond the
birch trees at the settlement’s western end.
Ratings
Scene 32 - Schindler Confronted by Gestapo and Doctor's Deception
Schindler comes out of his office and, passing Stern’s desk,
mumbles -
SCHINDLER
They’re in Auschwitz.
Before Stern can react, Schindler is out the door.
203. EXT. BRINNLITZ FACTORY - MOMENTS LATER - DAY 203.
As he strides across the factory courtyard toward his
motorcycle, Schindler is intercepted by some Gestapo men who
have just emerged from their car.
GESTAPO
Your friend Amon Goeth has been arrested.
SCHINDLER
(pause)
I’m sorry to hear that.
116.
GESTAPO
There are some things that are unclear.
We need to talk.
SCHINDLER
I’d love to, it’ll have to wait until I
get back. I have to leave.
The looks on their faces tell him he’s not going anywhere.
SCHINDLER
All right, okay, let’s talk.
GESTAPO
In Breslau.
SCHINDLER
Breslau? I can’t go to Breslau. Not
now.
These guys are serious.
204. EXT. AUSCHWITZ - DAY 204.
A young silver-haired doctor moves slowly along rows of
Schindler’s women, considering each with a pleasant smile
even as he makes his selections, with tiny gestures, for the
death chambers. He pauses in front of one.
YOUNG DOCTOR
How old are you, Mother?
She could lie, and he’d have killed her for it. She could
tell the truth, and he’d have her killed for that, too.
WOMAN
(pause)
Sir, a mistake’s been made. We’re not
supposed to be here, we work for Oskar
Schindler. We’re Schindler Jews.
The doctor nods pensively, understandingly, it seems. Then -
117.
YOUNG DOCTOR
And who on earth is Oskar Schindler?
He glances around hopelessly. One of the SS guards who
accompanied the women from Plaszow speaks up -
PLASZOW GUARD
He had a factory in Cracow. Enamelware.
The doctor nods again as if the information were valuable, as
if it meant something to him. It doesn’t.
YOUNG DOCTOR
A potmaker?
He smiles to himself and gets on with the “examination,” this
woman to this line, this other one to that.
Ratings
Scene 33 - Saving Lives and Desperate Negotiations
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.
In a large room, Schindler sits before a panel of twelve
sober Bureau V investigators and a judge of the SS court.
INVESTIGATOR
Everything you say will be held in
confidence. You are not under
investigation. You are not under
investigation. Mr. Goeth is. He is being
held on charges of embezzlement and
racketeering. You’re here at his request
to corroborate his denials. Our
information onto his financial
speculations comes from many sources. On
his behalf there is only you. We know you
are close friends. We know this is hard
for you. But we must ask you -
118.
SCHINDLER
He stole our country blind.
207. INT. BRINNLITZ FACTORY - DAY 207.
In Schindler’s absence, the workers attempt to operate the
unfamiliar machines, to figure out the unfamiliar process of
manufacturing artillery shells. There’s movement, there’s
noise, the machines are running, but little is being
produced.
Untersturmfuhrer Jose Liepold, the Commandant of Schindler’s
new subcamp, moves through the factory conducting an
impromptu inspection. He points out to a guard a kid no more
nine, sorting casings at a work table, and another boy, ten
or eleven, carrying a box.
208. EXT. BARRACKS - AUSCHWITZ - NIGHT 208.
Mila and another woman cross back toward their barracks
carrying a large heavy pot of broth. Not more than a hundred
meters away stand the birch trees and crematoria, the smoke
pluming even now, at NIGHT
Out of the darkness appear “apparitions,” skeletal figures
which surround the two women, or rather the soup pot between
them, dipping little metal cups into it, over and over.
Too startled to speak, Mila can only stare. The apparitions
clamor around the pot a moment more, than furtively slip back
into the same darkness from which they came. Mila and the
other woman exchange a glance. The pot is empty.
MILA
Where’s Schindler now?
209. INT. HOSS’ HOUSE - AUSCHWITZ - NIGHT 209.
In his en, over cognac, Auschwitz Commandant Rudolf Hoss
considers the documents Schindler has brought: the list, the
travel papers, the Evacuation Board authorization. Hoss nods
at them, then at Schindler.
119.
HOSS
You’re right, a clerical error has bee
made.
(pause)
Let me offer you this in apology for the
inconvenience. I have a shipment coming
in tomorrow, I’ll cut you three hundred
from it. New ones. These are fresh.
Schindler seems to think about the offer as he nurses his
drink. It’s “tempting.”
HOSS
The train comes, we turn it around, it’s
yours.
SCHINDLER
I appreciate it. I want these.
The ones on the list in Hoss’ hand. Silence. Then:
HOSS
You shouldn’t get stuck on names.
Why, because you get to know them? Because you begin to see
them as human beings? Schindler suddenly has the awful
feeling that the women are already dead. Hoss misinterprets
the look.
HOSS
That’s right, it creates a lot of
paperwork.
210. EXT. CONCOURSE - AUSCHWITZ - DAY 210.
A large assembly of women. Guards calling out names from a
list. As each woman steps out of line, a guard
unceremoniously brushes a swathe of red paint across her
clothes. New columns are formed.
120.
211. EXT. TRAIN YARD - AUSCHWITZ - DAY 211.
Schindler, standing at the end of the platform stone-faced,
watches the women whose names he is “stuck on,” whose clothes
are slashed with red paint, climbing onto the cattle cars.
As the cars fill, a train on another track arrives. The
“fresh” ones Schindler turned down. As the gates are closed
on the women’s cars, the gates of the others are opened and
the people spill out.
A horrified cry suddenly breaks through the noise of the
engines. One of Schindler’s women, locked in, has seen her
son among those coming down off the train on the opposing
track.
Another cry erupts, and another, another, as the women spot
their children, confiscated from the Brinnlitz factory,
brought here.
Schindler becomes aware of what’s happening and, passing over
other children, tries to corral these particular boys, many
of whom have noticed their mothers now and are echoing their
tortured cries with their own.
Schindler manages to gather them together, the fifteen or
twenty boys, and, in the middle of the crowded platform,
appears to a guard:
SCHINDLER
These are mine. They’re on the list.
These are my workers. They should be on
the train.
He points across to the women’s train, then down to the boys.
SCHINDLER
They’re skilled munition workers. They’re
essential.
The guard glances from the frantic gentleman to the anxious
brook around him. These are essential workers?
121.
GUARD
They’re boys.
SCHINDLER
Yes.
Schindler is nodding his head, trying to think. The women
are shrieking their sons’ names. The guard, who heard it
all, every excuse imaginable, is just turning away when
Schindler thrusts his smallest finger at him.
SCHINDLER
Their fingers. They polish the insides
of shell casings. How else do you expect
me to polish the inside of a 45
millimeter shell casing?
The guard stares at him dumbly. This he hasn’t heard.
Ratings
Scene 34 - Schindler Asserts Authority and Shows Compassion
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
approaching procession. It appears to them that the women
are covered in blood - or - could it be paint? They’re
walking, they’re fine, some are even smiling.
Liepold isn’t smiling. Neither is Schindler; at least not on
the outside.
214. INT. BRINNLITZ FACTORY - DAY 214.
The machines are silent, the people are not. Women are in
their husbands’ arms, sons in their fathers’. There’s food
on the tables but it’s largely ignored, the reunion taking
precedence.
122.
215. INT. SS MESS HALL - SAME TIME - DAY 215.
Schindler stands before the assembled camp guards. They are
seated at the long tables, their food getting cold, waiting
for him to say whatever it is he has to say.
SCHINDLER
Under Department W provisions, it is
unlawful to kill a worker without just
cause. Under the Businesses Compensation
Fund I am entitled to file damage claims
for such deaths. If you shoot without
thinking, you go to prison and I get
paid, that’s how it works. So there will
be no summary executions here. There
will be no interference of any kind with
production. In hopes of ensuring that,
guards will no longer be allowed on the
factory floor without my authorization.
His eyes meet Liepold’s, hold his icy stare, then return to
the guards, most of whom look like tired middle-aged
reservists.
SCHINDLER
For your cooperation, you have my
gratitude.
As he steps away he gestures to some kitchen workers. They
tear open cases of schnapps and begin setting the bottles out
on the tables.
216. INT. BRINNLITZ FACTORY - DAY 216.
Schindler strolls through his factory looking over the
shoulders of the workers, nodding his approval. The place is
in full operation, finally; the people, having figured out
the complicated Hilos, turning out shells by the caseload.
Schindler pauses at one of the machines.
SCHINDLER
How’s it going?
123.
WORKER
Good. It’s taken a while to calibrate
the machines, but it’s going good now.
SCHINDLER
Good.
Schindler nods. Then frowns. He leans down and taps at the
crystal of one of the gauges.
SCHINDLER
This isn’t right, is it?
The worker kneels down, takes a look. It looks right to him.
Reaching over, Schindler changes the calibration of the
machine with a cavalier adjustment to a knob - and all the
gauge readings shift.
SCHINDLER
There. That looks right.
He wanders off. The worker stares after him. He’s just
screwed up settings that took weeks to get right.
Schindler comes up to another worker, Levartov, the hinge-
maker. He’s at a machine buffing shells.
SCHINDLER
How’s it going, Rabbi?
LEVARTOV
Good, sir.
Schindler nods, watches him work, eventually glances away.
SCHINDLER
Sun’s going down.
Levartov, following Schindler’s gaze, nods uncertainly.
SCHINDLER
It is Friday, isn’t it?
124.
LEVARTOV
Is it?
SCHINDLER
You should be preparing for the Sabbath,
shouldn’t you? What are you doing here?
Levartov just stares. It’s been years since he’s been
allowed, indeed inclined, to perform Sabbath rites.
SCHINDLER
I’ve got some wine in my office. Why
don’t wego over there, I’ll give it to
you. Come on, let’s go.
Schindler heads off. The rabbi keeps staring. Schindler
gestures back to him, offering casually -
SCHINDLER
Come on.
Levartov looks around. Finally, he hangs up his goggles and
follows after Schindler.
Ratings
Scene 35 - Longing and Tension in the Brinnlitz Camp
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.
On their bunks, the guards relax with schnapps, cards and
magazines. One of them becomes distracted by a distant
sound. Some of the others begin to hear it.
GUARD
What is that?
Conversations cease. The barracks gradually becomes quiet,
silent, all the guards straining to hear. It sounds like …
singing. It sounds like Yiddish singing.
125.
219. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT 219.
On a watchtower, a night sentry, unsure where it’s coming
from, listens to the distant singing. It seems like it’s
emanating from the surrounding hills, from the trees.
220. INT. LIEPOLD’S QUARTERS - SAME TIME - NIGHT 220.
At his small desk, Liepold is typing a letter, denouncing
Schindler most likely. The pounding keys bury all other
sounds but when he pauses to reread what he’s typed, he hears
it, the singing, faint, far away. He goes to his window,
peers out, listens for a moment more, then hears nothing.
Only the night creatures.
221. INT. APATMENT BUILDING - BRINNLITZ - NIGHT 221.
The door to an apartment opens from the inside revealing
Emilie Schindler. She cooly considers the visitor on her
doorstep, her estranged husband, looking great as usual,
bottle of wine in his hand, smiling as if nothing is wrong
between them, as if nothing is wrong in the entire world.
222. INT. EMILIE’S APARTMENT - NIGHT 222.
The two of them at the kitchen table in a modest apartment,
drinking, at least he is. He’s trying to ask her something,
but he’s not sure how to put it, he wants to get it right.
Finally the words just tumble out -
SCHINDLER
I want you to come work for me.
There, he’s said it. But the bewildered look on Emilie’s
face wonders, That’s what was hard for you to say?
SCHINDLER
You don’t have to live with me, I
wouldn’t ask that.
(pause)
It’s a nice place. You’d like it. It
looks awful. You get used to that.
126.
She’s the only woman he’s even known who could make him
nervous just sitting across a table from him, saying nothing.
SCHINDLER
All right -
(now he’ll be honest)
We can spend time together that way. We
can see each other, see how it goes -
without the strain of - whatever you want
to call it when a man, a husband and a
wife go out to dinner, go have a drink,
go to a party, you know. This way we’ll
see each other at work, there we are,
same place, we see how it goes…
His voice trails off. A shrug adds, What do you think? She
doesn’t answer, but she does love him. He loves her, too.
It really is a shame they’re not right for each other and
never will be.
Ratings
Scene 36 - Schindler Introduces Emilie and Stern, Radio Fixed, Hopeful News
Stern glances up from his work; Schindler and Emilie have
come in and are walking toward the accountant’s desk. He
gets up.
SCHINDLER
Itzhak Stern, Emilie Schindler. My wife.
Like the doormen and waiters of Cracow, Stern too never
imagined Schindler was married and has trouble hiding his
astonishment now. He extends his hand to her.
STERN
How do you do?
EMILIE
How do you do?
STERN
Stern is my accountant and friend.
127.
It sounds strange to Stern hearing Schindler actually say it.
He’s never said it before.
SCHINDLER
Emilie’s offered to work in the clinic.
To … work there.
He’s not sure what she’s going to do there, she’s not a nurse
or a doctor.
STERN
(to her)
That’s very generous of you.
SCHINDLER
Yes.
Schindler nods, looks around, shrugs, offers his arm to his
wife, perhaps to take her on a tour of the place.
STERN
It was a pleasure meeting you.
EMILIE
Pleasure meeting you.
The Schindlers leave. Stern sits back down at his desk and
smiles. He’s never seen Schindler so uncomfortable.
224. INT. MACHINE SHOP - BRINNLITZ FACTORY - DAY 224.
Schindler comes in carrying a radio. He sets it down on a
bench where Pfefferberg’s working on the frame of a machine
motor with a blow torch.
SCHINDLER
Can you fix it?
The radio.
PFEFFERBERG
What’s wrong with it?
128.
SCHINDLER
How should I know? It’s broken. See what
you can do.
He leaves. Pfefferberg plugs it into an outlet and switches
it on. It works perfectly. A waltz.
225. INT. BARRACKS - BRINNLITZ CAMP - NIGHT 225.
In a male barracks, a group of workers including Pfefferberg
huddle in a corner around the radio, straining to hear
through heavy static a broadcast by the BBC, the Voice of
London, a sketchy report of an Eastern offensive by Allied
Russian forces.
226. INT. CLINIC - BRINNLITZ CAMP - DAY 226.
As a camp doctor attends to sufferers of dysentery, Schindler
and Emilie sort pairs of prescription glasses from a parcel,
shipped from Cracow. Stern comes in.
STERN
We need to talk.
SCHINDLER
Stern.
Schindler sifts through the glasses still in the box, comes
up with a particular pair and holds them proudly. Not quite
sure what he’s seeing is real -
STERN
They arrived.
SCHINDLER
They arrived, can you believe it?
Stern allows himself a smile, a rare thing for him.
Schindler carefully slips the new glasses onto the
accountant’s face. He looks around the clinic, Stern,
eventually settling on Emilie, crystal clear, standing near a
picture on the wall which, in other circumstances, he’d find
less than reassuring: Jesus, his heart exposed and in flames.
129.
Ratings
Scene 37 - Schindler's Intervention
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
Armaments Board. A very angry complaint.
The artillery shells, the tank shells,
rocket casings - apparently all of them -
have failed quality-control tests.
Schindler nods soberly. Then dismisses the problem with a
shrug.
SCHINDLER
Well, that’s to be expected. They have
to understand. These are start-up
problems. This isn’t pots and pans, this
is a precise business. I’ll write them a
letter.
STERN
They’re withholding payment.
SCHINDLER
Well, sure. So would I. So would you. I
wouldn’t worry about it. We’ll get it
right one of these days.
But Stern is worried about it.
STERN
There’s a rumor you’ve been going around
miscalibrating the machines.
(Schindler doesn’t deny it)
I don’t think that’s a good idea.
SCHINDLER
(pause)
No?
Stern slowly shakes his head ‘no.’
130.
STERN
They could close us down.
Schindler eventually nods, in agreement it seems.
SCHINDLER
All right. Call around, find out where
we can buy shells and buy them. We’ll
pass them off as ours.
Stern’s not sure he sees the logic. Whether the shells are
manufactured here or elsewhere, they’ll still eventually
reach their intended destination, into the hearts and heads
of Germany’s enemies.
STERN
I know what you’re saying, but I don’t
see the difference.
SCHINDLER
You don’t? I do. I see a difference.
STERN
You’ll lose money. That’s one difference.
SCHINDLER
Fewer shells will be made.
That’s another difference. The main one. The only one
Schindler cares about. Silence. Then:
SCHINDLER
Stern, if this factory ever produces a
shell that can actually be fired … I’ll
be very unhappy.
228. INT. BRINNLITZ FACTORY - DAY 228.
A nineteen year old boy with his hands in the air stands
terrified before Commandant Liepold and the revolver he
wields. Workers, trying to reduce the likelihood of getting
hit by a stray bullet when Liepold fires on the boy - which
seems a certainty - scramble out of the way.
131.
SCHINDLER (O.S.)
Hey.
Liepold swings the gun around at the voice, pointing it for a
moment at Schindler, who is striding toward him, then aims
the barrel back at the boy’s head, and yells -
LIEPOLD
Department W does not forbid my presence
on the factory floor. That is a lie.
He waves a document at Schindler, throws it at him.
Schindler doesn’t bother picking it up. Instead, pointing at
the boy, he yells to Liepold -
SCHINDLER
Shoot him. Shoot him!
Liepold is so startled by the command, he doesn’t shoot. He
doesn’t lower the gun, though, either.
SCHINDLER
Shoot him without a hearing. Come on.
His finger is on the trigger, Liepold is torn, frustrated,
hating the situation he has created. As the moments without
a blast stretch out, both and Schindler begin to settle down.
LIEPOLD
He sabotaged the machine.
Schindler glances to the boy. Then at the silent Hilo beside
him. Part of it is blackened from an electrical fire. To
the boy, concerned -
SCHINDLER
The machine’s broken?
The boy, too terrified to speak, nods.
132.
LIEPOLD
The prisoner is under the jurisdiction of
Section D. I’ll preside over the
hearing.
SCHINDLER
But the machine.
Liepold glances to him. He seems almost distraught by the
destruction of the machine, Schindler.
SCHINDLER
The machine is under the authorization of
the Armaments Inspectorate. I will
preside over the hearing.
Liepold isn’t sure that’s correct, but he has no
documentation, at least not on him, to refute it.
229. INT. FACTORY - NIGHT 229.
In the machine-tool section, a “judicial table” has been set
up. At it sit Schindler, Liepold, two other SS officers, and
an attractive German girl, a stenographer. The “saboteur,”
the boy, Janek, stands before the court.
JANEK
I’m unfamiliar with the Hilo machines. I
don’t know why I was assigned there.
Commandant Liepold was watching me trying
to figure it out. I switched it on and
it blew up. I didn’t do anything. All I
did was turn it on.
Gone tonight is Schindler’s usual shop-floor familiarity. He
studies the boy solemn-faced.
SCHINDLER
If you’re not skilled at armaments work,
you shouldn’t be here.
JANEK
I’m a lathe operator.
133.
Schindler dismisses the defensive comment with a wave of his
hand and gets up. He comes around and paces slowly before
the boy. Eventually, Janek dares to speak again -
JANEK
Sir?
Schindler glances up at him distractedly.
JANEK
I did adjust the pressure controls.
Schindler stops, looks to the panel, and back to the boy.
SCHINDLER
What?
JANEK
I know that much about them. Somebody
had set the pressure controls wrong. I
had to adjust -
Schindler slams the back of his hand so hard across Janek’s
face, the boy almost falls. He’s stunned. So are the others
at the table. They’ve never seen such violence from the
Direktor. He roars -
SCHINDLER
The stupidity of these people. I wish
they were capable of sabotaging a
machine.
Schindler’s hand comes up again and Janek recoils, expecting
another blow. Schindler manages to hold it.
SCHINDLER
Get him out of my sight.
A guard escorts the prisoner away. The panel members glance
among themselves. Is that it? Schindler faces them and
groans in dismay.
134.
230. INT. LIEPOLD’S QUARTERS - NIGHT 230.
Liepold at his desk, typing again. This time there is no
doubt he is composing a letter denouncing Schindler.
231. INT. HOUSE - BRINNLITZ - NIGHT 231.
Schindler and Emilie, her arm in his, stand around like
unwanted guests at the party. They probably are. Him
anyway. The other guests include local politicians who
fought and failed to keep his camp out of Brinnlitz.
Whenever his glance meets one of theirs, they smile tightly.
SCHINDLER
(to Emilie)
Isn’t this nice.
It’s not at all nice. He feels out of place, a feeling he’s
not accustomed to. Fortunately, a man in uniform, someone
Schindler can relate to, approaches cheerfully, his hand
outstretched.
RASCH
Oskar, good of you to come.
SCHINDLER
Are you kidding, I never miss a party.
Police Chief Rasch, my wife Emilie.
RASCH
How do you do?
EMILIE
You have a lovely home. It is nice. Big.
The man lives well.
RASCH
Thank you.
SCHINDLER
I need a drink.
135.
RASCH
Oh, God, you don’t have a drink?
SCHINDLER
(to Emilie)
Wine?
She nods. Schindler goes off in search of the bartender.
Rasch watches after him.
RASCH
Your husband’s a very generous man.
EMILIE
(wry)
He’s always been.
232. INT. RASCH’S STUDY - LATER - NIGHT 232.
Rasch and Schindler sharing cognac in the privacy of the
Police Chief’’s study. Beyond the closed doors, the party
continues, the sounds filtering in.
SCHINDLER
I need guns.
Rasch calmly nurses his drink, his eyes revealing nothing of
what’s going on behind them, except that the statement
requires some elaboration.
SCHINDLER
One of these days the Russians are going
to show up unannounced at my gate. I’d
like the chance to defend myself. I’d
like my wife to have that chance. My
civilian engineers. My secretary.
RASCH
(pause; then, philosophically)
We’re losing the war, aren’t we.
SCHINDLER
It kind of looks that way.
136.
RASCH
(blithely)
Pistols?
SCHINDLER
Pistols, rifles, carbines …
(long pause)
I’d be grateful.
Rasch smiles faintly. Yes, he’s familiar, as are officials
throughout much of Europe, with the gratitude of Oskar
Schindler.
233. INT. MACHINE SHOP - BRINNLITZ CAMP - NIGHT 233.
Poldek Pfefferberg holds up a pistol, feels its weight,
points it.
SCHINDLER
(calmly)
Careful.
Pfefferberg smiles, lowers the gun, kneels beside an open
crate of weapons: a couple of revolvers and rifles, an old
carbine.
234. INT. FACTORY - DAY 234.
From high above the factory, Stern can be seen among the
machines talking with a worker. The man points up and
returns to his work.
Stern stares up, puzzled. He locates a ladder that connects
the shop-floor to a series of overhead planks and, with
trepidation, climbs.
He reaches a shaky landing high above the machines, navigates
the primitive catwalks with great care, comes to a large
water tank near the workshop ceiling.
SCHINDLER
Stern.
137.
Above the rim of the tank, amid rising steam, Schindler’s
head appears. Then disappears. Stern climbs a set of rungs
on the tank, reaches the top and finds inside, lolling in the
steaming water, Schindler and the blonde stenographer from
the trial.
STERN
Excuse me.
Neither Schindler nor the blonde seems the least bit
embarrassed. Only Stern. He tries hard to pretend the girl
isn’t there, but he just can’t.
STERN
I’ll talk to you later.
SCHINDLER
No, no, what, what is it?
Schindler floats over closer to him, waits for him to report
whatever it is he has come to report, leans closer. Finally,
quietly -
STERN
Do you have any money I don’t know about?
Hidden away someplace?
Schindler thinks long and hard …
SCHINDLER
No.
Silence except for the gently lapping water. Half-joking -
SCHINDLER
Why, am I broke?
Stern glances away, doesn’t answer, just stares off. And a
slight, slight smile, a gambler’s philosophical smile upon
being purged of his wealth, appears on Schindler’s face.
138.
Ratings
Scene 38 - Burial of the Victims
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.)
Poldek.
236. INT. MACHINE SHOP - BRINNLITZ CAMP - DAY 236.
Tight on Poldek Pfefferberg’s eyes behind a welder’s mask.
He turns from his work to the voice, welding torch in his
hand.
237. EXT. RURAL BRINNLITZ - DAY 237.
The torch firing at ice as hard as metal, blue flame, white
steam. Pfefferberg’s eyes behind the mask again,
concentrating.
Around the abandoned boxcar, in the gruesome cold, stand
Schindler, Emilie, a doctor, some workers and some SS guards,
watching, waiting.
Pfefferberg steps back. Sledge hammers pound at locks.
Hands pull at levers. The doors begin to slide.
Out of darkness, from inside the boxcar as the doors slide
open, Schindler’s face is revealed, tight. He stares for an
interminable moment before walking slowly away.
Inside the boxcar is a tangle of limbs, a pyramid of corpses,
frozen white.
From a distance, a tableau: the boxcar, the workers and
guards and Emilie outside it, Schindler, off to himself
several steps away, all of them still as statues.
238. EXT. CATHOLIC CEMETERY - OUTSIDE BRINNLITZ - DAY 238.
Beyond a country church, among the stone markers of a small
cemetery, walk Schindler and a priest.
139.
SCHINDLER
It’s been suggested I cremate them in my
furnaces. As a Catholic I will not. As
a human being I will not.
The priest nods; he seems relatively empathic. He offers an
alternative -
PRIEST
There’s an area beyond the church
reserved for the burial of suicides.
Maybe I can convince the parish council
to allow them to be buried there.
SCHINDLER
These aren’t suicides.
The priest knows that. But he also knows that the provisions
of Canon Law regarding who can and cannot be buried in
consecrated ground are narrow.
SCHINDLER
These are victims of a great murder.
239. INT. BRINNLITZ FACTORY - DAY 239.
In a corner of the factory, workers hammer at pine lumber.
They are building coffins.
240. EXT. BRINNLITZ FACTORY - DAY 240.
As workers harness horses to carts, others hoist the coffins
into them. Schindler is there, watching. He glances up at
one of the guard towers, expecting, perhaps, to be felled by
a bullet.
241. EXT. BRINNLITZ FACTORY - DAY 241.
Beyond the wire, Rabbi Levartov leads the horse-drawn carts.
Around him walk a minyan - a quorum of ten males necessary
for the rite. A few guards lag behind.
140.
242. INT. BRINNLITZ FACTORY - SAME TIME - DAY 242.
Work continues, but it’s apparent in their eyes they are only
physically here; in spirit they are all walking alongside the
carts, one great moral force.
The roar of a machine suddenly, inexplicably, dies. Then
another. And another. Schindler, standing at the main power
panel, pulls the last of the switches, and the factory
plunges into absolute silence.
243. EXT. CATHOLIC CEMETERY - DAY 243.
Just beyond the perimeter of the Catholic cemetery, the
minyan quickly and quietly recites Kaddish over the dead as
their coffins are lowered into individual graves.
Then, there is only a low breathing of wind.
244. EXT. BRINNLITZ CAMP - ANOTHER DAY 244.
Amon Goeth, in civilian clothes, emerges from a car. His
eyes, sallow from inadequate sleep, sweep across the
fortified compound with envy. It’s a nice place Oskar’s got
here.
245. INT. OFFICE - BRINNLITZ FACTORY - SAME TIME - DAY 245.
Stern, at a window, stares down at Goeth beside his car.
Softly, gravely -
STERN
What’s he doing here?
Schindler appears beside Stern, glances down. He’s lost
weight, Goeth. The old suit he wears seems too big for him.
Alone down there he seems disoriented.
SCHINDLER
Probably looking for a handout.
141.
Ratings
Scene 39 - Amon Goeth's Visit to the Brinnlitz Factory
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
a long lost brother, leads him across the shop-floor, proudly
pointing out to him the huge thundering Hilo machines.
247. INT. OFFICES, BRINNLITZ FACTORY - DAY 247.
Schindler takes an old suitcase from his office closet, sets
it on his desk, snaps it open revealing clothes, Goeth’s
uniforms, his medals. The ex-Oberstrumfuhrer touches the
fabric gently, then glances up gratefully to his friend.
GOETH
Thank you.
248. INT. OUTER OFFICES - BRINNLITZ FACTORY - DAY 248.
Beyond the frosted glass of Schindler’s office door, Stern
can see the wavering forms of the two Nazi Party members
sharing cognac and stories.
249. INT. BRINNLITZ FACTORY - DAY 249.
Warmed by cognac and friendship, Goeth comes through the
factory again carrying the suitcase, Schindler at his side,
steering him to some degree.
Goeth’s hand comes up to his cheek as if to brush away a
bothersome fly. But it isn’t a fly. One of the workers has
spit on him. He turns in disbelief.
Silence as his hand drops to his side, to the holster he
forgets isn’t there. He glances around for SS guards … who
aren’t there. He looks to Schindler, thoroughly confused,
and whispers -
GOETH
Where are the guards?
142.
SCHINDLER
The guards aren’t allowed on the factory
floor. They make my workers nervous.
Goeth stares at him bewildered. Then again at the worker who
spit. Then at other workers, the resolve in their eyes.
They know he has no power here, and sense he has no power
anywhere. His own eyes drift to a woman with yarn in her
lap, knitting needles in her hands. Is this a dream?
SCHINDLER
I’ll discipline him later.
Schindler good-naturedly throws an arm around Goeth’s
shoulder and leads him away. The workers watch as the two
Germans disappear out the factory doors.
250. INT. GUARDS’ BARRACKS - EVENING 250.
A guard slowly turns the dial of a radio, finding and losing
in static several different voices in several languages, none
of them lasting more than a moment.
Depression hangs over the barracks. Most of the guards are
straining to hear the news they’ve been fearing for some time
now, some on their bunks just staring, one at a window
peering out at the black face of a forest as if expecting, at
any moment, to see Russian or American troops appear.
251. INT. WORKER’S BARRACKS - SAME TIME - EVENING 251.
Another radio. Workers, like the guards, straining to hear.
The dial finds, faint, mired in static, the idiosyncratic
voice of Winston Churchill.
252. INT. LIEPOLD’S QUARTERS - SAME TIME - EVENING 252.
Schindler on Liepold’s doorstep. The two men considering
each other across the threshold. Radio static filters out
from Liepold’s room. The word “Eisenhower” cuts through
before the speaker’s voice is buried again.
143.
SCHINDLER
It’s time the guards came into the
factory.
He turns and walks away.
253. INT. BRINNLITZ FACTORY - NIGHT 253.
All twelve hundred workers and all the guards are gathered
for the first time on the factory floor. Tension and
uncertainty surround them. It’s ominously quiet. Then -
SCHINDLER
The unconditional surrender of Germany
has just been announced. At midnight
tonight the war is over.
It is not his intention to elicit celebration. Indeed, his
words, echoing and fading in the factory, echo the doubts
they all feel.
SCHINDLER
Tomorrow, you’ll begin the process of
looking for survivors of your families.
In many cases you won’t find them. After
six long years of murder, victims are
being mourned throughout the world.
Not by Untersturmfuhrer Liepold. He stands with his men,
dying to lift his rifle and fire.
SCHINDLER
We’ve survived. Some of you have come up
to me and thanked me. Thank yourselves.
Thank your fearless Stern, and others
among you, who, worrying about you, have
faced death every moment.
(glancing away)
Thank you.
He’s looking at the guards, thanking them, which thoroughly
confuses the workers. Just when they thought they knew where
his sentiments lay, he’s thanking guards.
144.
SCHINDLER
You’ve shown extraordinary discipline.
You’ve behaved humanely here. You should
be proud.
Or is he attempting to adjust reality, to destroy the SS as
combatants, to alter the self-image of both the guards and
the prisoners? Moving across the SS men’s faces, they remain
inscrutable. Schindler turns his attention back to the
workers, and, not at all like a confession, but rather like
simple statements of fact:
SCHINDLER
I’m a member of the Nazi party. I’m a
munitions manufacturer. I’m a profiteer
of slave labor, I’m a criminal. At
midnight, you will be free and I will be
hunted.
(pause)
I’ll remain with you until five minutes
after midnight After which time, and I
hope you’ll forgive me, I have to flee.
That worries the workers. Whenever he leaves, something
terrible always seems to happen.
SCHINDLER
In memory of the countless victims among
your people, I ask us to observe three
minutes of silence.
In the quite, in the silence, drifting slowly across the
faces of the workers - the elderly, the lame, teenagers,
wives beside husbands, children beside their parents,
families together - it becomes clear, if it wasn’t before,
that both as a prison and a manufacturing enterprise, the
Brinnlitz camp has been one long sustained confidence game.
Schindler has never stood still so long in his life. He does
now, though, framed by his giant Hilo machines, silent at the
close of the noisiest of wars, his head bowed, mourning the
many dead.
145.
When he finally does look up he sees that he is the last to
do so. The faces, few of which he recognizes, are all
looking at him. He turns to speak to the guards along the
wall again.
SCHINDLER
I know you’ve received orders from our
Commandant - which he has received from
his superiors - to dispose of the
population of this camp.
Apprehension spreads across the factory like a wave.
Pfefferberg tightens his grip on the pistol under his coat.
His ragtag irregulars do the same, the rest of their ersatz
“arsenal” concealed behind a machine. To the guards:
SCHINDLER
Now would be the time to do it. They’re
all here. This is your opportunity.
The guards hold their weapons, as they have from the moment
they arrived here tonight, at attention, waiting it seems, to
be given the official order from their Commander, Liepold,
who appears ready to give it.
SCHINDLER
Or …
(he shrugs)
… you could leave. And return to your
families as men instead of murderers.
Long, long silence. Finally, one of the guards slowly lowers
his rifle, breaks ranks and walks away. Then another. And
another. And another. Another.
When the last is gone, the workers consider Liepold. He
appears more an oddity than a threat. He is more an oddity
than a threat. And he knows it. He turns and leaves.
Ratings
Scene 40 - Schindler's Regret
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.
Schindler and Emilie emerge from his quarters, each carrying
a small suitcase. In the dark, some distance away from his
Mercedes, stand all twelve hundred workers. As Schindler and
his wife cross the courtyard to the car, Stern and Levartov
approach. The rabbi hands him some papers.
LEVARTOV
We’ve written a letter trying to explain
things. In case you’re captured. Every
worker has signed it.
Schindler sees a list of signatures beginning below the
typewritten text and continuing for several pages. He
pockets it, this new list of names.
SCHINDLER
Thank you.
Stern steps forward and places a ring in Schindler’s hand.
It’s a gold band, like a wedding ring. Schindler notices an
inscription inside it.
STERN
It’s Hebrew. It says, ‘Whoever saves one
life, saves the world.’
Schindler slips the ring onto a finger, admires it a moment,
nods his thanks, then seems to withdraw.
SCHINDLER
(to himself)
I could’ve got more out …
Stern isn’t sure he heard right. Schindler steps away from
him, from his wife, from the car, from the workers.
SCHINDLER
(to himself)
I could’ve got more … if I’d just … I
don’t know, if I’d just … I could’ve got
more…
147.
STERN
Oskar, there are twelve hundred people
who are alive because of you. Look at
them.
He can’t.
SCHINDLER
If I’d made more money …I threw away so
much money, you have no idea. If I’d
just …
STERN
There will be generations because of what
you did.
SCHINDLER
I didn’t do enough.
STERN
You did so much.
Schindler starts to lose it, the tears coming. Stern, too.
The look on Schindler’s face as his eyes sweep across the
faces of the workers is one of apology, begging them to
forgive him for not doing more.
SCHINDLER
This car. Goeth would’ve bought this
car. Why did I keep the car? Ten people,
right there, ten more I could’ve got.
(looking around)
This pin -
He rips the elaborate Hakenkreus, the swastika, from his
lapel and holds it out to Stern pathetically.
SCHINDLER
Two people. This is gold. Two more
people. He would’ve given me two for it.
At least one. He would’ve given me one.
One more. One more person.
148.
SCHINDLER
A person, Stern. For this. One more. I
could’ve gotten one more person I didn’t.
He completely breaks down, weeping convulsively, the emotion
he’s been holding in for years spilling out, the guilt
consuming him.
SCHINDLER
They killed so many people …
(Stern, weeping too,
embraces him)
They killed so many people …
From above, from a watchtower, Stern can be seen down below,
trying to comfort Schindler. Eventually, they separate, and
Schindler and Emilie climb into the Mercedes. It slowly
pulls out through the gates of the camp. And drives away.
Ratings
Scene 41 - Liberation at Brinnlitz
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
into the forest.
257. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT 257.
From a watchtower, a couple of workers, having witnessed the
tank’s display of impotent might, can make little sense of
it. Below, many of the workers mill around the yard, waiting
to be liberated. No one seems to know what else to do.
258. EXT. BRINNLITZ - DAY 258.
Some Czech partisans emerge from the forest. They come down
the hill and casually approach the camp. Reaching the wire,
they’re met by Pfefferberg and some other workers, rifles
slung over their shoulders. Through the fence -
PARTISAN
It’s all over.
149.
PFEFFERBERG
We know.
PARTISAN
(pause)
So what are you doing? You’re free to go
home.
PFEFFERBERG
When the Russians arrive. Until then
we’re staying here.
The partisan shrugs, Suit yourself, and wanders back toward
the trees with his friends.
259. EXT. BRINNLITZ CAMP - NIGHT 259.
Five headlights appear out of the night, five motorcycles
marked with the SS Death’s-head insignia. They turn onto the
road leading to the camp gate and park, the riders shutting
off the engines.
SS NCO
Hello?
Shapes materialize out of the darkness within the camp.
Several armed and dangerous Jews.
260. EXT. BRINNLITZ CAMP - LATER - NIGHT 260.
As the cyclists fill their tanks with gasoline borrowed from
the camp, the workers keep their rifles pointed at them. The
NCO in charge lines the gas cans neatly back up against the
wire.
NCO IN CHARGE
Thank you very much.
He climbs onto his motorcycle. The others climb onto theirs.
And drive away.
150.
261. EXT. BRINNLITZ CAMP - DAWN 261.
A lone Russian officer on horseback, tattered coat, rope for
reins, emerges from the forest. As he draws nearer, it
becomes apparent to the workers assembling on the camp yard,
that the horse is a mere pony, the Russian’s feet in stirrups
nearly touching the ground beneath the animal’s skinny
abdomen.
He reaches the camp, climbs easily down from the horse and,
in a loud voice, addresses the hundreds of workers standing
at the fence:
RUSSIAN
You have been liberated by the Soviet
Army.
This is it? This one man? The workers wait for him to say
more. He waits for them to move, to leave, to go home.
Finally -
RUSSIAN
What’s wrong?
A few of the workers come out from behind the fence to talk
with him.
WORKER
Have you been in Poland?
RUSSIAN
I just came from Poland.
WORKER
Are there any Jews left?
The Russian has to think. Eventually he shrugs, ‘no,’ not
that he saw, and climbs back onto his pony to leave.
WORKER
Where should we go?
151.
RUSSIAN
I don’t know. Don’t go east, that’s for
sure, they hate you there.
(pause)
I wouldn’t go west either if I were you.
He shrugs and gives his little horse a kick in the ribs.
WORKER
We could use some food.
The Russian looks confused, glances off. The quiet hamlet of
Brinnlitz sits there against the mountains not half a mile
away.
RUSSIAN
Isn’t that a town over there?
Of course it is. But the idea that they could simply walk
over there is completely foreign to them. The Russian rides
away.
Ratings
Scene 42 - A Dinner Invitation
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.
Tight on TYPEWRITER KEYS rapping his NAME.
Tight on A PEN scratching out the words, “METAL POLISHER” on
a form.
Tight on the KEYS typing, “TEACHER.”
Tight on his FACE in the crowd.
Tight on the face of a woman in the moving crowd. The keys
typing her name. The pen scratching out “LATHE OPERATOR.”
The keys typing “PHYSICIAN.” Tight on her face.
152.
Tight on a man’s face. His name. Pen scratching out
“ELECTRICIAN.” Keys typing “MUSICIAN.” His face.
A woman’s face. Name. Pen scratching out “MACHINIST.” Keys
typing “MERCHANT.” Face.
“CARPENTER.” Face. “SECRETARY.” Face. “DRAFTSMAN.” Face.
“PAINTER.” Face. “JOURNALIST.” Face. “NURSE.” Face.
“JUDGE.” Face. Face. Face. Face.
HARD CUT TO:
263. EXT. FRANKFURT - DUSK (1955) 263.
A street of apartment buildings in a working class
neighborhood of the city.
264. INT. APARTMENT BUILDING - DUSK 264.
The door to a modest apartment opens revealing Oskar
Schindler. The elegant clothes are gone but the familiar
smile remains.
SCHINDLER
Hey, how you doing?
It’s Poldek Pfefferberg out in the hall.
PFEFFERBERG
Good. How’s it going?
SCHINDLER
Things are great, things are great.
Things don’t look so great. Schindler isn’t penniless, but
he’s not far from it, living alone in the one room behind
him.
PFEFFERBERG
What are you doing?
153.
SCHINDLER
I’m having a drink, come on in, we’ll
have a drink.
PFEFFERBERG
I mean where have you been? Nobody’s seen
you around for a while.
SCHINDLER
(puzzled)
I’ve been here. I guess I haven’t been
out.
PFEFFERBERG
I thought maybe you’d like to come over,
have some dinner, some of the people are
coming over.
SCHINDLER
Yeah? Yeah, that’d be nice, let me get
my coat.
Pfefferberg waits out in the hall as Schindler disappears
inside for a minute. The legend below appears:
AMON GOETH WAS ARRESTED AGAIN,
WHILE A PATIENT IN AN SANITARIUM
AT BAD TOLZ.
GIVING THE NATIONAL SOCIALIST
SALUTE, HE WAS HANGED IN
CRACOW FOR CRIMES AGAINST
HUMANITY
Schindler reappears wearing a coat, steps out into the hall,
forgets something, turns around and goes back in.
OSKAR SCHINDLER FAILED AT
SEVERAL BUSINESSES, AND
MARRIAGE, AFTER THE WAR
154.
IN 1958, HE WAS DECLARED A
RIGHTEOUS PERSON BY THE
COUNCIL OF THE YAD VASHEM
IN JERUSALEM, AND INVITED TO
PLANT A TREE IN THE AVENUE
OF THE RIGHTEOUS.
IT GROWS THERE STILL.
He comes back out with a nice bottle of wine in his hand,
and, as he and Pfefferberg disappear down the stairs
together -
He comes back out with a nice bottle of wine in his hand,
and, as he and Pfefferberg disappeaer down the stairs
together -
SCHINDLER’S VOICE
Mila’s good?
PFEFFERBERG’S VOICE
She’s good.
SCHINDLER’S VOICE
Kids are good? Let’s stop at a store on
the way so I can buy them something.
PFEFFERBERG’S VOICE
They don’t need anything. They just want
to see you.
SCHINDLER’S VOICE
Yeah, I know. I’d like to pick up
something for them. It’ll only take a
minute.
Their voices face. Against the empty hallway appears a faint
trace of the image of the factory workers, through the wire,
walking away from the Brinnlitz camp. And the legend:
155.
THERE ARE FEWER THAN FIVE
THOUSAND JEWS LEFT ALIVE
IN POLAND TODAY
THERE ARE MORE THAN SIX THOUSAND
DESCENDANTS OF THE SCHINDLER JEWS.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
oskar schindler | Oskar Schindler's character arc in the screenplay is one of profound transformation. He starts as a self-centered businessman driven by power and influence. However, as he witnesses the atrocities of the war and the suffering of Jewish prisoners, he begins to question his own actions and gradually becomes a compassionate savior. His guilt and remorse for not doing more to save lives weigh heavily on him, leading to a complete shift in his priorities and values. By the end of the film, Schindler is willing to risk everything to save as many lives as possible, showcasing his selflessness and redemption. | The character arc of Oskar Schindler is well-developed and compelling. However, to further enhance the impact of his transformation, it would be beneficial to provide more specific moments or events that trigger his change of heart. This could include showcasing his initial indifference towards the plight of Jewish prisoners and gradually exposing him to the horrors of the Holocaust. Additionally, exploring the internal struggles and conflicts he faces during his transformation would add depth to his character arc. | To improve the character arc, consider incorporating scenes that highlight Schindler's initial lack of empathy or awareness towards the suffering of Jewish prisoners. Show his gradual realization of the magnitude of the atrocities and the moral dilemmas he faces. This could be achieved through interactions with individual prisoners or witnessing specific acts of violence. Additionally, delve deeper into Schindler's internal struggles and conflicts, showcasing his journey from a self-centered opportunist to a selfless savior. This could be done through introspective monologues or conversations with other characters who challenge his beliefs and actions. |
itzhak stern | Itzhak Stern starts off as a skeptical and cautious accountant, concerned about the well-being of the Jewish community. As the story progresses, he becomes more resourceful and pragmatic, understanding the risks faced by Jewish businessmen. He serves as a voice of reason and support for Schindler, and his gratitude for Schindler's actions deepens. By the end of the feature, Stern fully recognizes the impact of Schindler's efforts and the lives he has saved, becoming an unwavering confidant and advocate for Schindler's cause. | The character arc for Itzhak Stern is well-developed and shows growth and transformation. However, it would be beneficial to provide more specific examples or scenes that highlight Stern's evolution throughout the feature. This would help to further engage the audience and create a stronger emotional connection with the character. | To improve the character arc, consider adding scenes where Itzhak Stern actively takes risks or makes difficult decisions to protect the Jewish community. Show moments where he confronts his skepticism and becomes more proactive in supporting Schindler's plan. Additionally, explore his personal journey and internal struggles, such as the emotional toll of witnessing the atrocities and the weight of responsibility he feels as an accountant. This will add depth and complexity to his character, making his transformation even more impactful. |
schindler | Schindler's character arc in the screenplay is a journey from a profit-driven businessman to a compassionate savior. He starts off as a wealthy and self-centered individual, motivated by financial gain. However, as he witnesses the suffering of the Jewish workers and becomes more aware of the gravity of the Holocaust, he undergoes a transformation. Schindler's empathy and moral conscience grow, leading him to risk his own safety and use his influence to save as many lives as possible. His arc culminates in his realization of the importance of human life and his determination to make a difference. | The character arc for Schindler is well-developed and compelling. It effectively portrays his transformation from a profit-driven businessman to a compassionate savior. However, one suggestion for improvement would be to further explore the internal conflict and struggles that Schindler faces throughout his journey. While the descriptions touch on his moral responsibility and empathy, delving deeper into his emotional turmoil and the challenges he faces in reconciling his actions with his initial motivations would add more depth to his character arc. | To improve the character arc, consider adding scenes or moments that highlight Schindler's internal conflict and the difficult choices he has to make. Show his struggle to balance his financial interests with his growing empathy for the Jewish workers. Additionally, explore the consequences of his actions and the toll it takes on him emotionally. This will further emphasize the complexity of his character and make his transformation even more impactful. |
stern | Stern starts as a knowledgeable and pragmatic accountant, providing important information and serving as a moral compass for Schindler. As the story progresses, he becomes a trusted advisor and ally, supporting and persuading Schindler in his efforts to save Jewish lives. Stern's gratitude and admiration for Schindler deepen as he realizes the gravity of the situation and witnesses Schindler's selflessness. He becomes more concerned about the potential consequences of their actions and tries to advise Schindler against unnecessary risks. Despite his caution, Stern remains loyal and deeply moved by Schindler's actions, ultimately becoming a key figure in protecting the workers. | The character arc for Stern is well-developed and consistent throughout the screenplay. However, it could benefit from further exploration of his internal struggles and emotional journey. While Stern's pragmatism and caution are clear, delving deeper into his personal conflicts and the impact of his experiences could add more depth to his character. | To improve the character arc for Stern, consider incorporating moments of vulnerability and internal conflict. Show how his experiences and witnessing Schindler's actions affect him emotionally. Explore his personal sacrifices and the toll it takes on him, highlighting the internal struggle between pragmatism and compassion. Additionally, consider giving Stern a defining moment where he takes a significant risk or makes a difficult decision that showcases his growth and transformation throughout the story. |
emilie | Emilie's character arc in the screenplay begins with her initial discomfort and unease with Klonowska's presence in their apartment. As the story progresses, Emilie's understanding of Schindler deepens, and she becomes more perceptive and observant of his struggles. She goes through a period of inner turmoil, unsure about whether to accept Schindler's offer to reconnect. However, her love for him ultimately triumphs, and she decides to support his efforts to save Jewish lives. This leads to her working in the clinic alongside Schindler, demonstrating her commitment to helping others. Throughout the feature, Emilie's character arc showcases her growth from a reserved and practical woman to a strong and independent individual who embraces her own agency and makes compassionate choices. | The character arc for Emilie is well-developed and showcases her growth and resilience. However, it would be beneficial to provide more specific details about her inner struggles and conflicts, especially during the period of estrangement from Schindler. This would allow the audience to connect more deeply with Emilie's journey and understand the complexities of her emotions. Additionally, exploring her relationship with Klonowska further could add depth to her character and provide additional layers of conflict and growth. | To improve the character arc, consider adding scenes or moments that delve into Emilie's internal struggles during the period of estrangement from Schindler. Show her grappling with her love for him and the challenges of their relationship. Additionally, explore her interactions with Klonowska and how they impact her decision-making process. This could create more tension and complexity in Emilie's character arc, allowing for a richer and more nuanced portrayal of her journey. |
amon goeth | Amon Goeth's character arc in the screenplay begins with his introduction as a menacing SS officer, proud of his role in the Holocaust. He is cold, ruthless, and willing to kill for even the slightest disagreement. As the story progresses, his sadistic nature becomes more pronounced, and he takes greater pleasure in exerting power over others. However, towards the climax of the film, Amon Goeth starts to show glimpses of inner conflict and doubt. He begins to question the morality of his actions and the ideology he represents. This internal struggle ultimately leads to his downfall, as he is unable to reconcile his sadistic nature with his growing conscience. In the end, Amon Goeth meets a tragic fate, serving as a symbol of the destructive power of unchecked authority. | The character arc of Amon Goeth is well-developed and effectively portrays his descent into darkness and eventual internal conflict. However, to further enhance the impact of his arc, it would be beneficial to provide more insight into his background and motivations. Understanding the factors that shaped his sadistic nature and exploring his personal journey leading up to his role in the Holocaust would add depth and complexity to his character. Additionally, incorporating moments of vulnerability or humanity, even if fleeting, could create a more nuanced portrayal of Amon Goeth and make his internal struggle more relatable to the audience. | To improve the character arc of Amon Goeth, consider adding flashback scenes or dialogue that shed light on his past experiences and the influences that shaped his sadistic nature. This could include exploring his upbringing, his indoctrination into the Nazi ideology, or any traumatic events that may have contributed to his cruelty. Additionally, incorporating moments of vulnerability or internal conflict, such as showing him grappling with guilt or questioning his actions, would make his character more multi-dimensional. These additions would provide a deeper understanding of Amon Goeth's journey and make his eventual internal conflict and downfall more impactful. |
goeth | Goeth starts off as a ruthless and power-hungry character, reveling in his authority and finding pleasure in the suffering of others. However, as the story progresses, he begins to question his actions and the consequences of his choices. He becomes confused and powerless when the workers and Schindler defy him, leading to a fall from grace. This realization causes him to experience a moral conflict, torn between his attraction to Jewish women and his loyalty to the Nazi ideology. Ultimately, Goeth's arc culminates in a moment of vulnerability and self-reflection, as he realizes his lack of control and the corrupt nature of his actions. | The character arc for Goeth is well-developed and provides a compelling journey for the character. However, it could benefit from further exploration of his internal struggles and the catalysts for his moral conflict. Additionally, the arc could be strengthened by showing more gradual changes in Goeth's behavior and mindset, rather than a sudden fall from grace. This would allow for a more nuanced portrayal of his transformation. | To improve the character arc, consider incorporating more scenes that delve into Goeth's internal struggles and the factors that contribute to his moral conflict. Show moments of doubt and hesitation, as well as instances where he grapples with his attraction to Jewish women and the conflicting ideologies. Additionally, consider adding more gradual changes in Goeth's behavior and mindset, allowing the audience to witness his transformation in a more nuanced and believable way. This could involve showing small acts of kindness or empathy that gradually chip away at his sadistic nature, leading to a more impactful and satisfying character arc. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Correlation between Emotional Impact and Overall Grade | There is a strong positive correlation between Emotional Impact and Overall Grade in this screenplay. Scenes with higher Emotional Impact tend to have higher Overall Grades. |
Correlation between Conflict and High Stakes | There is a strong positive correlation between Conflict and High Stakes in this screenplay. Scenes with higher Conflict tend to have higher High Stakes. |
Correlation between Character Changes and Dialogue | There is a moderate positive correlation between Character Changes and Dialogue in this screenplay. Scenes with more Character Changes tend to have more Dialogue. |
Correlation between Tone and Emotional Impact | There is a weak positive correlation between Tone and Emotional Impact in this screenplay. Scenes with darker or more intense tones tend to have slightly higher Emotional Impact. |
Correlation between Concept and Plot | There is a weak positive correlation between Concept and Plot in this screenplay. Scenes with stronger concepts tend to have slightly more developed plots. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of language, character development, and scene construction. The scenes effectively set up the narratives and engage the audience through their unique voice and originality.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Story by Robert McKee | This book provides insights and techniques for developing compelling characters, engaging plots, and effective storytelling. It can enhance the writer's craft in crafting impactful scenes, refining dialogue, and exploring philosophical conflicts. |
Course | Screenwriting Masterclass with Aaron Sorkin | This course offers valuable lessons and insights from a renowned screenwriter known for his engaging dialogue and complex characters. It can help the writer further develop their skills in crafting compelling and impactful scenes. |
Exercise | Write a scene with conflicting moral choicesPractice In SceneProv | Practicing writing scenes with conflicting moral choices can help the writer further explore and develop the philosophical conflicts present in their work. This exercise will enhance their ability to create tension and complexity in their scenes. |
Exercise | Write a scene with only visual storytelling, no dialoguePractice In SceneProv | This exercise can help the writer explore different ways of conveying emotions and advancing the narrative through visual cues and actions. It will enhance their skills in creating visual impact and engaging the audience without relying on dialogue. |
Exercise | Write a scene with conflicting valuesPractice In SceneProv | Practicing writing scenes with conflicting values can help the writer further explore and develop the philosophical conflicts present in their work. This exercise will enhance their ability to create tension and complexity in their scenes. |
Stories Similar to this one
Story | Explanation |
---|---|
Schindler's List | The screenplay summary provided is from the movie 'Schindler's List' itself. The scenes described in the summary are directly from the movie, showcasing the preparation, observations, interactions, and negotiations of Oskar Schindler in his efforts to save Jewish lives during the Holocaust. |
The Pianist | The Pianist is a movie that shares similarities with 'Schindler's List' in terms of its setting during the Holocaust and the portrayal of the struggles and survival of Jewish individuals. Both movies depict the harsh realities of the time and the resilience of individuals in the face of immense adversity. |
Life is Beautiful | Life is Beautiful is a movie that, like 'Schindler's List', takes place during the Holocaust and explores the theme of hope and resilience. Both movies showcase the lengths that individuals go to protect their loved ones and find moments of joy amidst the horrors of war. |
The Diary of Anne Frank | The Diary of Anne Frank is a book and subsequent adaptations that share similarities with 'Schindler's List' in terms of their focus on the experiences of Jewish individuals during the Holocaust. Both stories provide a glimpse into the daily lives, struggles, and hopes of those living in hiding or under oppressive conditions. |
The Boy in the Striped Pyjamas | The Boy in the Striped Pyjamas is a book and movie that explores the Holocaust through the perspective of a young boy. Similarly to 'Schindler's List', it portrays the innocence of children and the tragic consequences of war and discrimination. |
Sophie's Choice | Sophie's Choice is a book and movie that delves into the aftermath of the Holocaust and the psychological impact it had on survivors. While 'Schindler's List' focuses on the efforts to save lives, 'Sophie's Choice' explores the guilt, trauma, and difficult choices faced by those who lived through the Holocaust. |
The Book Thief | The Book Thief is a book and movie that shares similarities with 'Schindler's List' in terms of its setting during World War II and its exploration of the power of words and storytelling. Both stories highlight the resilience of individuals and the importance of preserving humanity in the face of oppression. |
The Counterfeiters | The Counterfeiters is a movie that, like 'Schindler's List', takes place during the Holocaust and focuses on the efforts of individuals to resist and survive. Both movies explore the moral dilemmas faced by those caught in the midst of war and the lengths they go to protect themselves and others. |
The Reader | The Reader is a book and movie that delves into the aftermath of the Holocaust and the complex relationships that can emerge between survivors and those who were involved in the atrocities. Similarly to 'Schindler's List', it explores themes of guilt, redemption, and the long-lasting impact of the Holocaust. |
Inglourious Basterds | Inglourious Basterds is a movie that, while fictional, shares similarities with 'Schindler's List' in terms of its setting during World War II and its exploration of resistance against the Nazis. Both movies depict acts of defiance and the pursuit of justice in the face of extreme oppression. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Mysterious Stranger | Oskar Schindler attracts the attention of a lieutenant who sends his sergeant to find out who he is. | The Mysterious Stranger trope is a common storytelling device where a character with unknown motives or background enters the story and intrigues other characters. |
Reluctant Hero | Oskar Schindler initially proposes a plan to use Jewish investors to own a company and pay them back in product, but Itzhak Stern is skeptical. | The Reluctant Hero trope is often used to create conflict and tension in a story. The hero is hesitant to take on their heroic role and may need convincing or face internal struggles before fully embracing their destiny. |
Establishing Shot | The scene starts with a mason troweling mortar onto a brick as the image drains of color. Meanwhile, a crew of brick-layers is erecting a wall where a street once ran unimpeded. | An Establishing Shot is a common technique used in film and television to establish the setting or location of a scene. |
Fish out of Water | Oskar Schindler enters a nightclub in Cracow and observes the clientele, including SS officers, Polish cops, gangsters, and girls. | The Fish out of Water trope is often used to create humor or tension by placing a character in a situation or environment they are unfamiliar with. |
Generous Boss | Schindler continues to entertain his guests and ensure everyone is having a good time. | The Generous Boss trope is often used to portray a character in a position of power who goes above and beyond to take care of their employees or subordinates. |
Forbidden Love | Schindler interrupts his conversation with Ingrid to take the reins of two horses and present them to the bride and groom as a wedding gift. A photographer takes a picture of Schindler with the couple. | The Forbidden Love trope is often used to create dramatic tension by depicting a romantic relationship that is socially or morally prohibited. |
Ghetto Life | The scene transitions to the ghetto gate where Goldberg, now a policeman, assists the Gestapo in deciding who enters the ghetto. Pfefferberg confronts Goldberg before entering the ghetto. | The Ghetto Life trope is often used to depict the struggles, hardships, and daily life of people living in a ghetto or confined area. |
Ethical Dilemma | Schindler learns from Stern that the standard SS rate for Jewish skilled labor is lower than what he would pay a Pole. Schindler questions why he should hire Poles if they cost more. | The Ethical Dilemma trope is often used to explore moral conflicts faced by characters when they have to make difficult choices between two or more conflicting values or principles. |
Redemption Arc | Schindler is uncomfortable when an old man, Lowenstein, thanks him for giving him a job and saving his life. | The Redemption Arc trope is often used to depict a character's journey from a morally compromised or flawed state to one of redemption and personal growth. |
Heroic Sacrifice | Schindler confronts a foreman about a worker who has been loading too much weight onto a truck. | The Heroic Sacrifice trope is often used to create a dramatic and emotional climax by having a character willingly give up their own well-being or life for the greater good or to save others. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Power and Corruption | The screenplay explores the theme of power and corruption through the characters of Amon Goeth and his abuse of power as an SS officer. It also examines the corrupt practices within the Nazi regime, such as stealing and profiting from Jewish labor. | Power and corruption is the most prominent theme in the screenplay, as it drives the actions of several characters and serves as a critique of the Nazi regime. | ||||||||||||
Strengthening Power and Corruption:
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Resistance and Survival | The screenplay depicts the resistance and survival efforts of the Jewish workers in Schindler's factory, as well as the actions of the Czech partisans. It explores their determination to survive and fight against oppression. | Resistance and survival is a significant theme in the screenplay, showcasing the strength and resilience of individuals in the face of extreme adversity. | ||||||||||||
Humanity and Compassion | The screenplay highlights acts of humanity and compassion, particularly through Oskar Schindler's efforts to save Jewish lives. It also explores the compassion shown by other characters, such as Itzhak Stern and the workers in the factory. | Humanity and compassion is a recurring theme in the screenplay, emphasizing the capacity for individuals to show empathy and kindness even in the darkest times. | ||||||||||||
Ethics and Morality | The screenplay raises ethical and moral questions, such as the choices faced by Oskar Schindler in deciding to save Jewish lives. It also examines the moral dilemmas faced by other characters, including the SS officers and the workers in the factory. | Ethics and morality play a significant role in the screenplay, exploring the complexities of decision-making and the consequences of one's actions. | ||||||||||||
Injustice and Oppression | The screenplay portrays the injustice and oppression faced by the Jewish population under the Nazi regime. It depicts the discrimination, violence, and dehumanization they experienced in the ghettos and concentration camps. | Injustice and oppression is a prevalent theme in the screenplay, shedding light on the atrocities committed during the Holocaust and the systemic oppression of a targeted group. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by descriptive and atmospheric language, sharp and impactful dialogue, and a focus on power dynamics and moral ambiguity. The narrative descriptions create vivid imagery and set the tone and atmosphere of each scene. The dialogue reflects the motivations and emotions of the characters, while also exploring complex themes and conflicts. The writer's voice adds depth and complexity to the screenplay, emphasizing the moral dilemmas and transformations of the characters. |
Voice Contribution | The writer's voice contributes to the script by creating a sense of tension, intrigue, and moral ambiguity. The descriptive and atmospheric language sets the mood and atmosphere of each scene, while the sharp and impactful dialogue reflects the power dynamics and emotional depth of the characters. The writer's voice adds depth and complexity to the screenplay, emphasizing the conflicting values and moral dilemmas faced by the characters. |
Best Representation Scene | 1 - Schindler's Nightclub Encounter |
Best Scene Explanation | This scene is the best representation of the writer's voice because it showcases the descriptive and atmospheric language, sharp and impactful dialogue, and focus on power dynamics and moral ambiguity that are characteristic of the writer's style. The narrative description sets the tone and atmosphere of the scene, while the dialogue reflects the power dynamics and manipulation of the characters. The writer's voice adds depth and complexity to the scene, emphasizing the conflicting values and moral dilemmas faced by the protagonist. |
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals evolved throughout the script as he navigated the complex social dynamics of the war, including establishing his reputation, gaining influence, and earning financial success. |
External Goals | The protagonist's external goals evolved as he faced various challenges, including socializing and networking, negotiating business deals, ensuring the success of his factory, and saving as many Jewish lives as possible. |
Philosophical Conflict | The overarching philosophical conflict is the clash between self-interest and moral responsibility, as the protagonist balances his desire for power, wealth, and success with his belief in the value of human life and his responsibility to protect and save Jewish workers from the Holocaust. |
Character Development Contribution: The protagonist's goals and the philosophical conflict challenge his beliefs, values, and worldview, forcing him to confront his own actions, make difficult choices, and ultimately evolve into a compassionate and heroic figure.
Narrative Structure Contribution: The protagonist's evolving goals and the overarching philosophical conflict provide a narrative structure that propels the story forward, creates tension and suspense, and brings depth and complexity to the plot.
Thematic Depth Contribution: The goals and philosophical conflict contribute to the thematic depth of the screenplay by exploring themes of power, morality, humanity, salvation, and redemption in the context of the Holocaust.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The physical environment in the screenplay is described as dismal, with cheap furniture, faded curtains, and peeling wallpaper. There are also specific locations such as Cracow, a construction site, a ghetto, a factory, and various other settings.
- Culture: The cultural elements present in the screenplay include the presence of different social groups such as SS officers, Polish cops, gangsters, girls, and entrepreneurs. There is also a division between Jews and non-Jews, as well as the presence of Jewish armbands and the black market.
- Society: The societal structure in the screenplay is influenced by the circumstance of war, with people from different backgrounds thrown together in the same space. There is a hierarchy of power and authority, with SS officers and guards exerting control over the Jewish population. Discrimination and oppression against Jews are prevalent.
- Technology: The technological aspect in the screenplay is represented by the use of radios, cars, trains, machines, typewriters, and other equipment. These technological elements play a role in transportation, communication, and industrial production.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by creating a sense of tension, fear, oppression, and the struggle for survival. The characters are influenced by the societal structure and power dynamics, leading to moral dilemmas, acts of resistance, and attempts to save lives.
- Narrative contribution: The world elements in the screenplay contribute to the narrative by creating a vivid and immersive setting that reflects the historical context of World War II and the Holocaust. The physical environment, cultural elements, societal structure, and technology provide a backdrop for the characters' journeys, conflicts, and relationships.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring themes of power, oppression, discrimination, resistance, and the capacity for humanity in the face of darkness. The physical environment, cultural elements, societal structure, and technology serve as symbols and metaphors for these themes, adding depth and complexity to the story.
central conflict
The central conflict in the story is Oskar Schindler's struggle to save as many Jewish workers as possible from the Holocaust while navigating the dangerous and oppressive Nazi regime.
primary motivations
The primary motivations driving the story are Schindler's desire to profit from the war and his growing empathy and compassion for the Jewish workers, leading him to risk his own life and resources to save them.
catalysts
Key catalysts in the narrative include Schindler's initial observation of the mistreatment of Jews at the nightclub, his meeting with Itzhak Stern and the realization of the dire situation for Jews, the establishment of his factory and the recruitment of Jewish workers, and the increasing atrocities committed by Amon Goeth and the Nazis.
barriers
Major barriers preventing character objectives include the strict Nazi regime and its policies, the constant threat of discovery and punishment, the limited resources and power Schindler has to negotiate with, and the moral dilemma of choosing between profit and saving lives.
themes
Central themes linked to the story's engine include the power of individual actions to make a difference, the moral complexities of war and human nature, the resilience and strength of the human spirit in the face of adversity, and the importance of empathy and compassion.
stakes
The stakes in the narrative are the lives of the Jewish workers, who face certain death if not saved, as well as Schindler's own reputation, safety, and moral integrity.
uniqueness factor
The uniqueness factor of this story lies in its historical context and the true events it is based on, as well as the portrayal of a morally complex protagonist who starts as a profiteer but evolves into a hero.
audience hook
The main audience hook that will keep viewers engaged is the tension and suspense created by the constant threat of discovery and the high stakes involved in saving lives during the Holocaust.
paradoxical engine or bisociation
The paradoxical story engine in this narrative is the juxtaposition of Schindler's initial self-interest and profit-driven motives with his eventual selfless acts of heroism and sacrifice.
paradoxical engine or bisociation 2
Another option for the bisociation engine in this story could be the contrast between the brutality and inhumanity of the Nazi regime and the acts of kindness and humanity displayed by Schindler and others.
Engine: Gemini
Highly Recommend
Executive Summary
Schindler's List is a powerful and moving screenplay that masterfully portrays the horrors of the Holocaust and the triumph of the human spirit. Its complex characters, effective use of visuals, and sharp dialogue create an unforgettable cinematic experience.
- Schindler's character is complex and compelling, evolving from a war profiteer to a selfless savior. His arc is portrayed with nuance and depth. high ( Scene 3 Scene general )
- The screenplay masterfully juxtaposes the horrors of the Holocaust with moments of humanity and hope, creating a powerful emotional impact. high
- The use of black and white and color effectively highlights key moments and themes, adding a layer of visual storytelling. medium ( Scene 15 Scene 99 Scene general )
- Dialogue is sharp and realistic, revealing character motivations and the complex dynamics of the time. medium
- Goeth serves as a chilling counterpoint to Schindler, embodying the banality of evil and highlighting the choices individuals make in extreme circumstances. high ( Scene 74 Scene 137 Scene general )
- Emilie Schindler's character could be further developed to explore her motivations and reactions to Oskar's actions. medium
- The pacing in the middle section could be tightened to maintain momentum during the factory establishment phase. low
- Stern's role as Schindler's conscience and accomplice is crucial, and his quiet heroism adds depth to the narrative. high ( Scene 22 Scene 188 )
- The girl in the red coat serves as a powerful symbol of innocence amidst the horrors, reminding viewers of the human cost of war. high ( Scene 89 Scene 161 )
Engine: Claude
Recommend
Executive Summary
Schindler's List is a powerful and well-crafted screenplay that chronicles the transformative journey of Oskar Schindler, a German businessman who becomes an unlikely savior of over a thousand Jews during the Holocaust. The screenplay effectively balances the harrowing historical events with the complex moral and emotional arcs of its characters, delivering a compelling and impactful narrative. While there are a few areas that could benefit from further development, the screenplay's strengths, particularly in its characterization, visual storytelling, and exploration of moral ambiguity, make it a strong candidate for adaptation.
- The screenplay establishes a strong central character in Oskar Schindler, who is well-defined and multifaceted. His introduction in the nightclub scene and his first interaction with Stern showcase his charismatic yet morally ambiguous nature, setting the stage for his complex journey. high ( Scene 1 (3) Scene 2 (6) )
- The screenplay's portrayal of the Plaszow forced labor camp and the liquidation of the Krakow ghetto are harrowing and emotionally impactful, providing a visceral depiction of the horrors of the Holocaust. high ( Scene 14 (74) Scene 15 (85) )
- The screenplay effectively shows Schindler's moral transformation, as he transitions from a self-serving profiteer to a man driven to save as many lives as possible, culminating in the powerful final sequence in Brinnlitz. high ( Scene 30 (186) Scene 31 (198) )
- The scene where Schindler confronts Stern about the growing number of people on the list could be further developed to explore the tension and ethical dilemma more deeply. The dialogue feels a bit rushed, and there may be an opportunity to delve into the characters' motivations and the stakes in a more nuanced way. medium ( Scene 22 (136) )
- The sequence depicting the deportation of the women and children to Auschwitz feels a bit abrupt and could benefit from more emotional beat and character development. Expanding on the individual stories and reactions could heighten the impact of these harrowing events. medium ( Scene 26 (163) Scene 26 (166) )
- The screenplay could benefit from additional development of the secondary characters, such as Max Redlicht and the other Jewish businessmen, to provide a more well-rounded understanding of the community in Krakow and the various ways they are impacted by the Nazi occupation. medium ( Scene 4 (12) Scene 4 (13) )
- The screenplay effectively explores the complex relationships and power dynamics between Schindler, Goeth, and the other Nazi officials, highlighting the moral ambiguity and the ways in which they use and manipulate one another. high ( Scene 19 (124) Scene 23 (148) )
- The final sequence, in which Schindler is overwhelmed by guilt and remorse for not doing more, is a powerful and emotionally resonant conclusion that captures the complexities of his character and the larger themes of the story. high ( Scene 37 (255) )
Memorable lines in the script:
Scene Number | Line |
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40 | Schindler: I could've got more... |
15 | Amon Goeth: Today is history and you are a part of it. |
19 | Schindler: All I have is Jews. |
8 | Schindler: There’s no way I could have known this before, but there was always something missing. In every business I tried, I see now it wasn’t me that was failing, it was this thing, this missing thing. Even if I’d known what it was, there’s nothing I could have done about it, because you can’t create this sort of thing. And it makes all the difference in the world between success and failure. |
39 | Schindler: I’m a member of the Nazi party. I’m a munitions manufacturer. I’m a profiteer of slave labor, I’m a criminal. At midnight, you will be free and I will be hunted. |